#but like. Richard. is right there. hes right there.

[shellshocklove]

ok WOW!!!!! i just finished reading this for the first time and i'm speechless! i started reading this way too late, thinking i'd read one chapter before bed just to check it out. fast forward five chapters it was, and i'm not kidding 06.30am, and i was in a concerning "only one more chapter and i'll go to bed"-situation. anyways i fell asleep, woke up way too few hours later still thinking about these two, and thinking of them i did until i finally could read the rest before bed.

your writing is so beautiful! lots and lots of beautiful sentences and smart description. it's so clear you have a love for reading, and know your stuff when it comes to literature and mythology. in one of the warnings you said this story was self-indulgent and there is nothing better than a self-indulgent story. you so clearly put your heart and soul into this, and it's so lovely to read. it makes me so happy bc that joy shines through, hiding between the lines.

reading this felt like when i read "the secret history" for the first time. i couldn't put that book down either. i saw you reference it in this series, and i knew i was right in my feeling of this story. in a way it felt catered to my interests. like in the last part where you included joni. and as someone with a joni mitchell url (and someone who's had a joel story inspired by "for the roses" on the wip backburner for a while now), she's a big inspiration to me and i love her music. when you directly mentioned my favorite song on blue "the last time i saw richard" and the line "all romantics meet the same fate someday" i knew i was gonna be in my feelings later 😭

the story arc you've put them through has been delicious to read. the perfect balance between hot and filthy smut, and feelings that made my heart ache in the best way (and i mean. i've stopped and read a paragraph again bc i needed to really feel it in my chest). you've written the impending doom and tragedy of their relationship so well. it's hidden in every part, blowing air into a balloon ready to pop at any minute. the push and pull of the early chapters, of the "we shouldn't be doing this" to the "i can't quit you" (<- also a brokeback mountain reference or am i trippin'?).

the chapters in new york i think are my favorite. the freedom they had there to explore their blooming relationship, but again also the tragedy of how they could only be free there with no hiding :(( i knew it was coming in the last chapter. when rachel's advances got turned down by joel in new york i knew it was gonna be her that caught them. that last line broke me </3 idk i'm hoping rachel and joel's pre-existing relationship can help this in any way. rachel is hurt, but could she do that to joel? could she do that to the man she loves, even if he loves another? maybe the tragedy is that her love for him is what dooms his and reader's relationship </3

anyway, long story short, i loved this very very much! you have a gift for writing, and i'm so happy you wrote this! thank you!! <3

a lover’s pinch | masterlist

professor!joel miller x f!reader

pairing: professor!joel miller x f!reader rating: explicit, 18+ minors dni series summary: a one-night stand with a charming texan turns into something much more thrilling when you discover he is your new college professor. joel miller is entirely off limits. but now that you’ve had a taste, will you be able to keep your hands to yourselves? series warnings/tags: au, university professor joel, age gap [20 something years diff], alcohol consumption, ethically dubious relationship due to inherent power imbalance, explicit smut, angst, secret relationship, joel has both his daughters, joel's profession is very ooc but the core of his personality [grumpy], lore [dilf], mannerisms [being a secret softy] etc etc are all as true to character as my two humble hands can manage. explicit warnings included in each part. main masterlist ziggy's moodboard | ziggy’s moodboard II sil's moodboard ALP playlist

one | two | three | four | five | six | seven | eight | nine | ten |

╰┈➤ night breeze [an ALP interlude set between seven & eight]

[delulupunk]

How the batboys react to you only speaking in meme references:

Dick Grayson

This is the Robin who used to unironically use turns of phrase while busting crime lords with Batman, so of course he’s going to match your energy. If you say “What the fuck Richard?” He’s just going to reply something even sillier.

“They are my crocs.” He does this in the most deadpan tone and these two memes aren’t even related to one another.

He loves it though and finds the funny way you react to situations similar to his demeanour so you bounce of each other very well. It leads to the pair of you having meme wars- you try and outdo each other in how many memes you can reference.

“Bethany I made BiScUiTs!”

“Look at all those chickens!”

“So no head?”

The pair of you now have inside meme jokes that you say to each other, that earn you weird looks from everyone else when you say them to each other. Mainly because the combinations barely make any sense. However it brings you two closer and sometimes helps break the ice after an argument.

“It’s Wednesday my dudes…”

…

“AHHHHH!”

Jason Todd

Jason isn’t much of a social media person anymore. He tells everyone he finds it jarring and that it’s like peer pressure on steroids. He only uses Pinterest for book recommendations. So you can only reference memes that went viral before his death, at the beginning of your relationship otherwise he just ignores you.

When he does recognise a meme he’ll either roll his eyes or give you an annoyed, yet affectionate smile. Over time though as he notices you making more relevant meme references with your friends, he finds himself getting jealous. Jason wants to experience that with you.

So he pushes aside all his reservations with social media and watches as many meme videos as he can. Eventually he tries incorporating them into your conversations, albeit sheepishly as he’s unsure of himself.

“Brother Eugh?” He’ll state in a reluctant tone and you’ll just laugh and say it right back.

Tim Drake

Tim is far too focused on being a detective to watch memes, instead the way he relaxes is by doing something that still stimulates his brain in a way, so he’s a fan of puzzles.

“You look like the polite cat sometimes.” You told this to him once absentmindedly and he looked at you like you’d grown two heads. He immediately researched it and saw some similarities. You continued the meme reference when you bought him a puzzle of the polite cat for his birthday. It was safe to say he wasn’t that impressed. However he finished it in record time.

Whenever you quote any memes though he gives you a factual answer, “Roadworks mean that construction workers are fixing the road.” In retaliation you begin sending him all the memes you reference and then one day he just starts saying them. At first you’re shocked and he doesn’t do it often, but he’ll have a smug smile on his face every time.

Damian Wayne

Due to Damian’s harsh upbringing from the league of assassins he isn’t well versed in meme culture.

“What is aura? How have I lost -10,000? What was my starting amount?” He takes your meme references too literally, but when you offer to show him some and explain them he accepts. He’ll scoff and tell you he was only doing it to humour you, but in reality he wanted to regain some of his childhood and he felt this would be a good way to do it.

This bitch empty… yeet!

“She could have hit an innocent bystander with that.”

“I think she did Damian.” You play the video back a million times just to see whether or not she had.

He doesn’t ever reference memes back to you or say them in the first instance. Despite this he learns when you’re most likely to quote them and which one it would be. If you choose not to he’ll raise an eyebrow and ask you why you hadn’t. He wants to make sure you haven’t stopped because of him, he likes it he’s just not sure how exactly to show it.

When you do quote memes to him, he’ll have the ghost of a smile on his face. You’ll only see it if you look closely.

[2danesand1cat]

The themes of regret, grief, and guilt have been in my mind lately, particularly regarding my sweet angel child-Damian.

It’s a pretty consistent theme in the comics that Damian believes he is not good enough, he’s a monster, that he’s not like his father or siblings, and that he’s full of uncontrollable anger, malice, and spite.

And while of course each batkid (and especially Bruce) have their own unique experiences with guilt and regret, I can’t help but imagine what all of that must feel like to a kid so young, who is incredibly skilled and highly intelligent, yet also very naive in a way that a child is about the world and their place in it.

Damian is frustrated when people don’t understand his harshness and his intense motivations, as it creates a barrier in the way he relates to his family. Additionally, he is barely able to step out of his own perspective as a child, preteen, and even young teenager to understand other people’s ways and motivations. This would certainly be incredibly isolating, having this drive and intensity you were tortured to develop and that you are now being told is wrong even though that’s all you know. But more than anything, he just wants to please someone, and it feels like they just keep misunderstanding him. This, of course, is not to say they didn’t try. Dick, Alfred and Bruce are his heroes for a damn good reason, but it took a great deal of time and constant redirection.

Even now, as an early teen, he’s still struggling with maintaining all the work he’s done on himself to reframe his self image and control his emotions. YOU KNOW HOW DIFFICULT IT IS FOR A 14/15 YEAR OLD TO CONTROL THEIR EMOTIONS?!?!

Do you know how much guilt and regret that must take, to keep him on track?

His desire to please is so strong because each small bit of praise that he earns reinforces this very feeble idea that, maybe, just maybe, he is good, and is doing something right. Each time he hears these things, it slowly erodes that constant weight on his tiny little shoulders of the guilt he carries everyday.

I can’t help but think of all the times he pleaded with himself and some high figure or something to “please, make me good like Richard. Help me be better. Help me be like Father. Please, please please” as silent sobs gripped his tiny frame and tears poured down onto his pillow.

Or all the times where he is sketching or training or just trying to exist and is hit with a wave of guilt as he has a flashback about his time in the league or even his early days in Gotham. Those are the days when his sketches get crumped because “it’s not worth it to even try to create something beautiful” in those moments. And how he refuses to wrap his hands as he hits the punching bag over and over again, feeling a small bit of relief at every spilt knuckle because “I deserve this pain” is all he can think.

Still til this day, as nightmares come and go, he lies there in bed and repeats to himself that “yes, that was me, i did kill, i did slaughter”, and even though what he just experienced in his dream wasn’t real, it was all at one time very, very real.

There were times when he wouldn’t eat breakfast after he lay up all night, coming to terms with his past self, reasoning that breakfast is for people that deserve it. He must instead punish his body for the its sins. Seeking comfort to placate his conscious was weakness as well. He did his best to hide his guilt and suffering from Dick and Alfred and Bruce, as it was not their cross to bear.

What he forgets, and still often forgets, is that he is and was just a child. And what he is trying to learn is that everyone has regrets, but we are not our past, we are our efforts to create a better future self. It gets a little better each day. He is trying.

At least now, he has given himself the permission to seek out the love and comfort he so desperately craves. When he silently pads into Bruce’s room at night, Bruce understands. They don’t speak, not then at least, but Damian no longer constantly denies himself the goodness that he is learning he deserves.

[s0uth3park]

Random SP headcanons pt2

Pt 1

Tweek tried to, but ultimately will never, learn how to drive with heavy advice from his loved ones (Craig). It’s too stressful. It’s dangerous because of his anxiety and tics for others and himself. No driving for Tweek. Please.

Cartman doesn’t make fun of Craig for being “half ginger” because he’s a little scared of him… kind of.

Speaking of, Cartman showed Craig his own wiener (as per TxC) of his own volition.

Fat fucking crush on Kyle btw.

If Stan hates that he looks like his dad then he hates that Kyle looks like his mom btw. Because… alcoholic x radical canadaphobe?? Fuck knows.

Stan shakes on weed (no projection here). He can’t feel it though.

Speaking of, Tweek can’t feel his own shaking.

Cartman wishes that Kenny would act how he would / seeks Kenny’s validation, hence his criticism of Kenny of the most menial of things (ie. holding a candle in Put It Down).

If there was money for it, Karen would own a lot of stuffed animals.

Kevin and Karen do not carry the gene for red hair. Or blond/blonde hair.

Cartman loves his fucking grandma. (No projection I swear)

Jimbo holds some affection for Liane but is just a gay old fuck. Jimned 4eva

Did I mention in my last post I think, despite Mrs Valmer’s canon design, that Mrs Tweak has the biggest tits? I’m saying it again if so

SHE AND RICHARD SCREW SO BAD I KNOW I SAID BUT PLEASE UNDERSTAND–

I know I said last post that I didn’t know how Tweek and Butters would be cousins but now I’ve decided… people can think differently because anything goes but for me it’s through both fathers. Tweak Bros. originates from Mrs. Tweak’s father and to earn the right to marry her he had to win him over and show his dedication to the profession

Richard and Stephen got grounded a LOT

Linda and Sheila’s hair always smells incredible (so much product)

Sheila is the type of grandma to give out stale sweeties

The Marsh name ends with Stanley. The bloodline ends with both him and Shelley

Heidi is the mother of Kyle’s kids (coping)

Cartman only became homeless after his mother died

He never worked ever (garageman future aside)

Clyde got vaccinated guys we can all rest now (the bad future self came back to tell him to never do it but once the good future is put into play he gets vaccinated because there was no bad future to come back to tell him)

Clyde is very girldad coded, soz

Bebe’s dad is a bit younger than her mom (he is the ultimate girldad… Mr. Stevens I wish I knew your name)

Clyde gets more insecure about his weight / appearance as he gets older. For now he is young however so let him live (his pudge is the pudge ever and he is sonboy if not a carnal dream and a half… latter only in pcov ofc)

Mr. Stevens helps Bebe with her homework a fuckton (particularly maths)

Butters bites his nails

Butters (after growing up) loves strong women. Look at his Pcov design and tell me he doesn’t want / have / respect a buff wife.

If Butters wasn’t grounded as much as a kid he wouldn’t have a fear of expectations as much as he does, meaning he would have probably gotten a better job than working in Dennybees or whatever it was called. Bro could have been a multi billionaire girlboss

I just want someone to hear this it’s not really a headcanon but BHLK Queen Thistle? LINDA STOTCH? Same character different nationalities istg

Kyle plays chaperone a fair bit to the guys

Kyle, Tolkien and Craig are the most sensible drivers out of All The Boys (Tolkien behind Craig and Kyle if I’m being honest)

Kenny and Bebe (Bebe isn’t a boy but YKWIM) are the fucking fastest / most reckless

Clyde and Stan are sort of not great but not bad drivers

Jimmy is rather close to Tolkien in terms of driving skill yk

Butters, Cartman, Tweek don’t drive – Cartman out of laziness / expectation of chaperones, and Butters and Tweek out of stress… Tweek tried to learn though

Craig in later years drives Tweek everywhere

Tweek and Cartman have experienced heart attacks (in later years) but for different reasons to the other. Clyde has come very close. So has Craig, though not as close.

Tweek dies before Craig.

Stan dies before Kyle.

Butters dies before Kenny (ironically).

Craig visits Tweek’s grave with flowers every week??

Craig, as an old man, where’s a lot of fucking cardigans. Grandpa shirts too (the things without the collars).

Tweek and Craig have matching anythings. Typically slippers.

Bebe is very handsy and sometimes possessive. Clyde thinks it’s “sweet”. (The dudebro sweet not the romantic sweet through the possessiveness originates from romanticism).

In Pcov Clyde is a delivery man, actually

Out of all the couples, it would always be Clybe to cause the most hickeys

Bebe has a flatter ass than brilliant boobs (opposite for Wendy, though Wendy isn’t flat chested)

Nichole bleaches her skin in the future (it’s sad but look at her design. Out of everything else it’s the most unrecognisable and it’s awful)

Nichole loves 60s/70s paraphernalia and fashion (the ultimate flower power child)

Wendy and Cartman fuck at least once in their lifetimes. They take it to the grave, but because of this Cartman doesn’t die a fucking virgin

That sounds so damn harsh wth but it’s true (I think Cartman doesn’t really have any labels moreso is just attached to certain people when it’s not just himself *cough cough* Kyle and Wendy *cough cough*)

Jimmy can see perfectly fine out of both eyes until he reaches teenhood

Jimmy has two brown haired alleles

Cartman doesn’t make fun of Kenny or Craig for having a ginger / red haired parent because he thinks they’re pretty cool. He lowkey ships them / wants to be them.

Cartman has the gene for ginger hair.

[twoidiotwriters1]

Chapter 1. Fun Times & Potty Rooms

Summary: Dearest Gentle reader, as another season starts so do the surprises. Masterlist // Next Chapter Words: 1,517 Listen to: What's Up? -by Non 4 Blondes A/N: Don't forget to leave feedback, please! -Danny

Dear Diary,

Mother insists I write even though she knows this isn't what I meant when I said I wanted to write. I'm not a self-referential lady who enjoys talking to herself; in fact, I believe it is quite silly and embarrassing. But alas, I am writing. To myself. 

Why, you ask? Well, for the first time in my five-and-twenty years of living, I'll spend some time away from home. Mother thinks it's time I do so, otherwise I'll be a perfect stranger to other royals and no one will know of me once I become Queen. When I said in jest that it was my intention, Mother didn't laugh. Which hurt plenty, because she usually laughs at the nonsense I spit. Which means she must want me to mingle and socialize. Lord have mercy on all of us.

Mother used to be just like me when she was my age, but she is so regal nowadays that you wouldn't believe she used to trip over armour and set fire to gentlemen's suits. My father fell in love with Mother because she was fire, he often jests.

Are these the things one writes in a diary? I must admit I'm doing this with half a mind since I'm also watching over my twin brothers, Richard and Rowan, and my younger sister Marie, so they do not fall off of the moving carriage. I wish I were more like Marie, graceful and charming, she's all dad. 

I'm boisterous when careless, with my head in the clouds and unable to land swiftly... How is this journey to England going to change that? A bunch of mummies live in that palace. My maid said they are the most rigid crowd I'll ever meet.

The fun awaits.

Benedict rises from his slumber tangled in two different bodies, with the sun streaming down on his face and immediately heightening the dormant headache. When he props himself up, the man on his right rolls over groaning and covering his head with a pillow, then the woman on his left curls away from him, pulling the covers closer to her bare body, baring Benedict and showing the marks all over his body. He used to find satisfaction in them, but lately, the day after his love affairs has been causing him a most unpleasant irk.

Maybe it's time to... settle down?

Benedict shrugs off the thought with a grimace. A boring aristocratic life accompanied by some sensible woman sends him reeling, it's all a bit too serious, and deep within his heart, he's always felt that he could not possibly abandon this type of life. Such a wide variety of companions to love... Why would he quit it?

No fun at all.

You step out of the carriage and your foot slips. Helped by the footman, you give him a soft thank you and offer him a kind smile, but he doesn't look up at you at any moment. You sigh, realizing this trip is bound to be exactly what you imagined.

Your siblings hurry after you and you chastise them. Even though you're around the same age, the twins are just entering their twenties, therefore it's hard to make them understand being loud and bold isn't cute anymore. Your sister holds your arm as she looks up at the castle with curiosity.

"Ample..." Marie says bemusedly.

"All that wasted space," you sigh. "They don't have toilets here, so you'll have to go in your room in a pissy bowl—"

"Y/N," your mother, Queen Amelia, stops beside you giving you a look. "Don't even think about complaining in the Queen's presence... but call it a potty if you are to be funny. Pissy bowl makes you sound five."

You and your sister giggle, which makes your mother send a conspiratory wink your way. A lovely woman. Your father, King Nicholas, comes up the steps and presses his hands to your backs, urging the two of you to enter the castle. 

"In girls, it looks like rain..."

"Are we to spend all of our time indoors, then?" Your sister pouts. 

"That is less than ideal, considering Y/N is here to be outdoors for a change, but I suppose it depends on the weather," your father glares at the sky. "England wishes to give us a proper welcome."

"No, thank you!" Marie picks up her pace.

"I spend time outdoors," you argue under your breath.

The man smiles. "Let me rephrase, then. To meet new people and spend time with them outdoors."

As you enter the wide hall you're welcomed by the Queen of England and her many children. A few are closer to your age, but you do not like the way the male part of the bunch eyes you and your sister. Or the way the Princesses look at your brothers, for that matter.

"Your Majesty, Queen Amelia of Genovia. King Consort, Nicholas Devereaux, and their children— Princess Y/N Devereaux, Princess Marie Devereaux, and the Princes Richard and Rowan Devereaux."

While the girls curtsy and the boys bow, the queens greet each other. Queen Charlotte spares a brief glance toward your father and a little 'hmph' escapes her lips with no further comment. King Nicholas, a man with a sense of humour, glances your way and pretends to loosen his cravat anxiously while gulping, which makes you giggle.

"Ah, Benedict, there you are," Violet surveys her son over the teacup she's holding. "Took you long enough to join us. Where have you been?"

"Morning, Mother, I apologize," he smiles and sits next to Gregory. "I woke up early and walked around Hyde Park hoping for inspiration to strike."

"Seems to me you were the one striking," Colin mutters across the table, eyeing his brother's neck with a grin. Benedict pulls his cravat higher up and glares at his brother to keep quiet.

"Benedict, did you hear the news?" Hyacinth speaks, almost shaking with excitement. "A royal family is attending the first ball of the season!"

"There is always some royal family at balls, isn't it?" He retorts without interest.

"The Queen and King of Genovia are staying in London for the whole season," Anthony says carefully. "Along with their two daughters and sons. I expect you to keep the family name as pristine as ever."

"Is this why you're here and not at home with your wife?" Benedict asks. "You came to scold us ahead in case we were planning to make a fool of ourselves?" Anthony doesn't dignify the question with an answer, he looks at his brother with a steely glare for a few extra seconds before he goes back to his food. Like I care about flimsy princesses, Benedict thinks with disdain.

"Whistledown says this will be the first public appearance of Princess Y/N!" Hyacinth continues, unbothered by her brothers's lack of excitement. "I wish I were old enough to attend the ball..." She turns to Francesca and Eloise. "Will you try to befriend her for me? She must be your age."

Eloise scoffs. "Befriend a princess? If she's anything like ours, she'll be all night fanning herself looking down at every poor mortal that dares walk within her breathing distance."

"They're not quite like us," Colin points out, just as fond of gossip as his sister. "Ever since Queen Amelia ascended to the throne, Genovia has been known for their... er... forward thinking."

Benedict snorts. Whatever royalty considers "forward thinking" is not even halfway there. Eloise, however, leans on the table wanting to hear more of it. "What do you mean, brother?"

"Women are encouraged to get higher education. They participate in sports, hunts, arts— and can wear male's clothing—"

That pulls a gasp from their mother and Eloise, although they're both different sounds in nature. Violet blushes and replies in a shy voice. "Oh, well... if it works for them..."

"They're well on their way to becoming a leading nation," Colin continues excitedly. "Which is why the Queen has invited them. Whistledown made a joke last month... something about England living in the Dark Ages and being the reason why people branch out and leave the country, claimed that Genovia would double in size thanks to us... it was quite merciless."

Anthony shakes his head. "You let women do stuff they're already doing in the privacy of their homes and call it revolutionary. Please."

What would the Queen of Genovia think of people like Benedict? Maybe he should visit the country, perhaps this very season, he would try anything just to escape the usual horde of debutants and dull social events...

"Well, there is a great deal of difference between having to be private and choosing to be," Francesca argues. Benedict smiles at her, a silent compliment he gives every time she outwits Anthony.

"There are other things happening in Genovia, it's not all about women," Colin shrugs it off. "I was just giving an example I knew would interest Eloise the most."

"And which ones were left out of your consideration?" Eloise grins.

"The potty rooms," he states, making Gregory choke on his tea.

Next Chapter –>

Taglist.

@babypink224221 @Booknerdlife @djsporks @lght-roastcoffee @marii-ren @mythical-goth @omgsuperstarg @creepytoes88 @sarahskywalker-amidala

[herefortheships]

Lydia looks so smug when Betelgeuse is about to have Rory killed, like she's thinking "this is what my man is willing to do for me, bitch" 😆 And yet she's afraid of him? Nah, that's her excuse to push Beej away. Anyone familiar with romance arc structure? Looking at it specifically through the Romancing the Beat structure, I feel like, if applied to BJBJ, the story left Lydia in the "Retreating from love" beat. I'll have to review the beat sheet and rewatch the movie with romance arc structure in mind to make sure, but I think she made her fear-based choice to reject love in BJBJ by banishing Betelgeuse.

Not saying that BJ3 will start with her Dark Night of the Soul (though she did look sad or one could say regretful after banishing him. She's looking at the floor with a furrowed brow, like she's conflicted). BJ3 might retrace earlier beats more solidly, or go into the beats BJBJ might have skipped, because this is a romance arc in a horror-comedy, so it wouldn't follow a traditional romance structure, I guess (they might also write in a romance arc intentionally in BJ3, if they didn't already write in the romance arc intentionally in this one. Personally I think they so did. lol I get the vibe Burton and co wanted to plant the idea in this movie and end the series with the two of them together. They're testing the waters, basically).

//EDIT: ACTUALLY they might still be in either the Set up or the Falling in Love's "No way" beat, in which Lydia has pretty much stated why she's not falling in love (she didn't say it literally, of course, just her actions lol), and specifically NOT with Betelgeuse (this one she did verbalize, as I'll write bellow. Things she said about him: he's a stalker, a trickster demon, "bad things will happen" if he's here, etc). They might have been entering the Falling in Love part of the arc, and yet I think the story took her right to the Retreating from Love beat at the end, because she did banish him. But he's still around, so they might still be here at the Set up or Falling in love parts of the arc? 👀 Anyway, I'll break it down eventually and write a romance arc beat sheet for them.//

This is how Lydia's rationalizing her fear-based rejection of love: "He's literally evil and will use me and leave me". And "there's an age gap, it wouldn't have worked out between us anyway". She's protecting her heart from being hurt again. The fear of him leaving might come from her past relationships failing; one could even bring up how Richard left her to go on his Amazon adventure, when their relationship failed. Then Richard ended up dying in that trip and left her forever (because she can't even see his ghost). Then her mention of the age gap, that might have just been her looking for the easiest way out, to reject him without even trying to give him a chance after seeing that he might not be that bad after all.

Anyway, I'll rewatch the movie and create a romance arc beat sheet for these two. Just because I'm a nerd and it'll be fun. 😂 I'll see how many romance story beats were actually used and how many we have yet to go into with these two until endgame.

If there is a romance arc between them in BJBJ, then it's incomplete. Which means BJ3 will complete it, but I gotta push my hopes down. Let's not get our hopes up, but STILL I can't unsee what is there to see. lol

[walkingstackofbooks]

Once again, an imagined 3-paragraph-whatsit has grown into a little longer ficlet 😅😅...

Occasionally, Julian asks Palis what's going to happen to them when he graduates and leaves with Starfleet for the stars. Usually, she just laughs, asking "Why worry about the future, when what we have now is so good?", or jokes about how she'll have to make sure she ties him up securely enough to stop that happening.

So he tries not to think about it too much, and accepts that their relationship is one of those that's not going to last forever - which is fine, what they have is good, and he was lucky that Palis had ever chosen him in the first place. Their futures being different from each other doesn't lessen the love that they have for each other now.

And then, six months away from graduating, Paris proposes. And Julian accepts, because what else do you do when your beautiful, amazing girlfriend proposes, even if it is completely unexpected?

He does wonder what made her change her mind though - she's never shown any interest in leaving France before, or in a long-distance relationship - but he's learnt not to ask her these things directly over the years, and so for a few days he tiptoes round the subject, dropping hints and subtle questions which she dances around as gracefully as ever.

The following Friday, she invites their parents round for a celebratory meal. She doesn't like it when he's critical of his parents - it's disrespectful - so he grins and bears it and doesn't tell her he'd much rather just cuddle up with her and a film and a takeaway for the evening.

"Have you told him the news?" her father asks as they sit down for the meal. Her face lights up, and she turns to beam at Julian, reaching out for to grasp his hand.

"No, I left it for you," she replies.

And suddenly, Julian's being offered a job here in Paris. He could be Chief of Surgery in five years, apparently. Or, as Monsieur Delon -Henri - assures him, if he wanted to get deeper into research, then Saint-Antoine has very close links with univerisities all across Europe.

"I-I thought... You're not coming with me?" he asks Palis in a daze. She smiles at him brightly.

"Of course not! What would I do in space?" she laughs. "Jules, this is perfect - I know you'll be an incredible doctor, and now you don't have to leave me. I've been hoping it would work out, but I didn't want to tell you until dad had got it all sorted - isn't he the best?"

"What a wonderful opportunity!" Amsha gushes. "And here in Paris! You'll be grateful to have stayed so close to London, when you need us to help with our grandchildren."

It is a very good opportunity, and Julian should want it, shouldn't he - to have this life with Palis, to have family looking out for him, for Palis not to give up the job she loves...

His heart is racing. He feels sick.

"I'm sorry," he says faintly, standing up and bringing a hand to his stomach. "I, uh - cramps, you know? Excuse me."

He leaves the room quickly, hearing the scraping of a chair behind him - presumably Palis coming to find out what's really wrong.

She follows him through to their bedroom, glaring at him from the door as he sits down on the edge of their bed.

"That was rude," she snaps, "and don't tell me it was cramps. You had your period last week."

"I was trying not to be rude!" Julian tries to explain. "I know your father must have put in a lot of work to make this happen, I don't want to sound ungrateful or say the wrong thing—"

"Then just say yes!" Palis interrupts. "What is wrong with you? It's perfect, and here you are having a fucking panic attack about it!"

"I'm not— I..." There's a buzzing in his ears, and he trails off, reaching for something neutral. "I don't— I don't like surpises," he reminds her quietly.

To his relief, she softens, despite how pathetic he's being. Settling beside him, she starts rubbing firm circles into his back, grounding him, letting him bask in her touch.

"Oh, sweetheart, I'm sorry," she says. "Is that what all this is about? It being a surprise? Oh, Julian, if I'd known you didn't like them, I wouldn't have done it like this at all. You should have told me."

He leans into her, taking deep breaths and comfort in her familiar smell.

"I've just been so excited about this," Palis explains. "I hoped you would be too. And I know you don't want kids right now, but your mum's right, neither of us have had surgery yet, so one day..."

"'Course I'm excited," he tells her, not quite sure if he's lying. "It's just, it's all—"

"A lot, I know," she finishes for him. "I'm nervous too. It's a big decision."

He nods slowly. "Can I have some—"

"Water?" she asks. "I'll go get some for you."

He had been going to say 'time to think', but Palis is already off, and now he thinks about it, she was right - his throat is rather dry.

She returns, and he sips the water gratefully, tapping his fingers against the glass until Palis tells him to stop.

"Are you ready to go back in?" she asks. "Our parents will be getting hungry."

Julian thinks about telling her he isn't, but quickly dismisses it. That would be rude.

"Okay. Yeah. Let's go, fiancée." That word, at least, is still exciting in its newness, and his mouth stumbles upon a smile before its even out of his mouth.

"I like that," she says, pulling him up form the bed and then into her. "You're mine now," she whispers in his ear, in a way that makes him really wish that their parents were not still waiting for them in the kitchen.

But they are, and although they seem to have already started on the food (Julian would bet anything that was Richard's idea), Julian and Palis can't hide in their bedroom forever. And there's still the small matter of accepting Henri's offer.

"Um, sorry about that," he says, sliding back into his seat. His mother's eyes are on him, and he looks away, knowing she's going to want to 'talk' to him later - she didn't buy his cramps excuse, either.

He turns to Palis' father, fixing his eyes on him for an excruciating few seconds. "I really appreciate what you're doing for me and Palis," he says. "It means a lot. I'd love to work with you, thank you."

His mouth has gone dry again, but Henri is standing up and holding out his hand, which means he wants Julian to shake it. In an effort he's quite proud of, Julian manages not to break eye contact until they've both sat down again. The chatter resumes, and as he reaches for his glass, he frowns at his hand, wondering why it's shaking.

Headcanon that Julian had a bunch of “relationships” as a teen with older people just to piss his parents off/to get away from them (because his gfs and bfs in their 20s would have their own place he could stay at...) and that he never really had a chance to learn what a healthy partnership looked like.

And then that Palis was emotionally abusive towards Julian, in a way that he never quite put his finger on...

And that his attraction towards Garak was in part due to the way that Garak felt dangerous to be around. Not because that was new or exciting or thrilling, but because it was familiar.

[holorform2009]

WARNING: body impaled mentioned, death mentioned, you died. If you are uncomfortable stop reading this.

If there is Brud!reader...

Then I will make another sprunki reader!

Which is Sky!reader!

if you're confused, I'm talking about a sprunki who had a color of sky blue, that is why his name is sky. I did a little bit of research and found out his age is actually 14 which means he is the youngest of all sprunkies out there. And I also found out that he likes to collects teddy bear, no wonder he has bear ears.

So what I'm gonna do is make another platonic yandere DC x Sky!reader.

And yes, you still have a music syndrome.

Because I never seen sky spoke in a full sentences.

So anyway!

your noise or the way you spoke to people that is none sprunki is a music box. (I search sprunki Wikipedia)

They tried to communicate you to try and understand you better but since you kept singing that noise repeatedly they do not understand you, because they thought you singing in Morse code but they were wrong.

Well that's because you have a music syndrome! And can not speak normally.

I imagined it was Tim who is trying to understand your... 'language' but then he gives up because it's not close to a Morse code.

The only person who can understand you is Richard Grayson. Why? Because he can read your body language, as your expression tells everything. Actions spoke louder actually paid it off.

But would it be funny it was John Kent who can understand your music language? Imagine when Damien tried speaking to you and you respond with a noise of a music box out if your throat, he looked at John asking for a translation. "They said 'Are you the demon spawn that Jason keeps mentioning about?' "

And what's more funny Sad? What happens if you die?

Since sky didn't make it in horror version.

This will turn into an angst.

John Kent was looking for his friend, he was worried about them. The last time he saw them was at the Toy store. He asked for Damien to help find them as his eyes was filled with tears and Damien agreed to help him. It's been one week. And you were no where to be found.

John was filled with panic, fear, and anxious. Damien tried his best to calm his best friend down as John is in the verge of breakdown. Where were you?

He asked his Father, Clark. To help them both find their friend, his father agreed and Clark asked Bruce for help too.

At this point every heroes and vigilantes are involved in finding you. Unfortunately... They failed to look for you. John can not accept that his friend Sky!reader is dead. He cried in his bed as Louis and Clark looked at each other, worried and guilt written in their face. Both of them tried to comfort their son, not successfully doing so. Because he kept crying for his friend.

Until one night, Damien called John, telling him to come and meet him at the abandoned warehouse. He wants to show him something...

John flies towards the abandoned warehouse that is given by Damien current location. When he came, he stepped closer to his best friend and was about to ask him what did he want to show him something. But stopped when he saw his missing friend impaled by four rods in their body... One rod is through the middle of their skull to their chin, one through their chest, one through their ear, and one through their left eye socket. Blood is dripping through their neck, right eye, and right ear.

He explained to John that he was on a patrol but when he heard a music box that sounded like Sky!reader, instead of a soft and high pitched melody of a music box it's sounded menacing now. He quickly followed to where the sound came from inside the abandoned warehouse only for him to stop in his track and horrified at the sight of them impaled by four rods. Their eyes make contact with Damien before their light in their eyes slowly faded.

It was too late for him to save them...

And right now, you are no longer singing that sound anymore. Because you are dead. And now... John's eyes was filled with tears as he started sobbing once more at the sight of their dead body in from of him, seeing their friend like this... Hurts him.

Rains started to pour down hard, John and Damien and their families gathered together at your funeral, saying their goodbyes and farewell for you.

It hurts them knowing that you were young when you died, you were only 14. The same age as John and Damien. Now that you are gone. He wasn't the same anymore... John is always the happy boy, always the sunshine, and now... His smile is upsidedown.

Damien tried to cheer him up. Key word: "tried to" he is not the best at comforting ok? At least he tried. He promised to John that he will find whoever murdered their friend and when he captured the murderer, he'll let John do whatever he wants to do with the murderer.

Be it, kill them, punch, laser them, do what ever he want if Damien finally captured the culprit to who ever killed their poor friend.

He will keep that promise.

He swear to his best friend he will.

[nolanfa-fanart]

Gen (non-romantic) fics recs: DC, the Batfamily has Issues

Gen (Non-romantic) Fic recs for @genuaryficrecs (and anyone else who likes good fic)

Fandom: DC, batfam Focus: The Bat family has Issues This is the place for comically bad at communication!batfam, oh gosh you have so many issues (affectionate), trauma, etc. Please assume that every "Why I love it" summary is prefaced with "This is one of my fave DC fics. First, it's very well-written. Second, ". List under the readmore.

I'm a Good Pretender, by shipNslash ( https://archiveofourown.org/works/45598369 ) 7/7 chapters, 40.416 words G, No Archive Warnings Apply Main characters: Dick mostly, and Bruce

Official Summary: “You’re doing it again,” Bruce says, tone accusatory. “You’re faking.” “It’s not faking,” Dick snaps, a little more aggressive than he means to be. But he doesn’t like that word, doesn’t like the connotations. (Especially when he knows Bruce is lying about something, too.) “Then what is it?” “It’s called being charming and it’s nice.” -_- Dick’s mother raised her son to be a star. Dick’s father raised his son to be an athlete. Bruce's new ward is charming (manipulative), dedicated (obsessive), and way, way too smart for either of their own good.

Why I love it: This is peak Performer Dick. Smart kid Dick who knows how to make people like him. Hyperactive Dick. And Wet Cat Battinson. Who wouldn't want to see them interact?

Excerpts: "Oh. From the- That is, yes. I'm, uh, I'm Richard's case worker." The boy visibly twitches and she redirects her attention. "Hello, Richard. Are you al- um, How are you feeling?" Alfred almost winces but, instead of withdrawing again or lashing out, Richard does something much, much more distressing. Right in front of Alfred, the boy transforms into someone totally different. His posture shifts, from despondent slackness to a sort of tense hunch, making him look far younger and in much more distress. His expression loses the blankness of shock as his bottom lip wobbles and his eyes well up with big, fat tears. "I wanna go home,” he cries out. “Please, I just wanna go home!" - And Dick is glad that this isn’t their first meeting, because Mister Wayne is painfully, intolerably awkward the whole time. He flinches every time someone addresses him, only makes eye contact with the toes of his scuffed converse shoes, and sneaks out the back door halfway through with Mister Pennyworth when he is very obviously losing a battle against an oncoming panic attack. How did this guy survive being famous, Dick wonders, watching him creep back in like he won’t be noticed if he’s quiet enough.

-- By Any Other Name, by ManURonaldo, part of the Like Father Like Sons series https://archiveofourown.org/works/40244490 1/1 chapters, 4.569 words (part of a 55k series) T, Chose Not To Use Archive Warnings (brief mention of Jason's mom) Main characters: Jason and Bruce (decent Dick, Steph and Tim presence in the rest of the series)

Official Summary: “Have you seen Bruce recently?” Dick asks one night. “Haven’t seen Bruce since the last time I saw you,” Jason responds. He can feel the weight of Tim’s eyes on him though, and it’s grating. “WHAT, Tim?” “You saw him last night,” Tim responds after a moment, flicking his eyes towards Dick. “Literally last night, man.” “Yeah,” Jason responds without thinking, because he hasn’t slept in 58 hours, “I saw Batman last night. I haven’t seen Bruce in a month.” For a moment, there’s complete silence. And then, in an exasperated whisper, Dick says: “what the fuck, Jay?” OR: Jason picks up a little bit more from Bruce than he means to as Robin. It doesn’t go away, not even when he’s Hood. OR: Jason watches Bruce. Tim watches Jason. Dick watches Tim. They all need therapy.

Why I love it: I love that one. I love the way it features Identity Issues. The first story in the series is about Jason and Bruce, and following ones are also about Jason's relationships with Dick, Tim, Steph, and the way those different relationships interact. The Tim and Jason part (in the following stories) in particular goes way deeper than the usual dynamic of resentment for taking Robin / for past violence, and looks at why, now, they might or might not like / understand each other. Each of the batfam members is fucked up in different ways, which I love.

Excerpts: Jason is six years old and sometimes he feels like his dad is two different people in one body. There’s a person in there that loves him and holds him even though he’s too big to be held and makes him breakfast in the morning. And there’s another person in there, too, who thinks Jason is annoying and spoiled and always in the way and a problem. There are signs, is the thing: Jason can figure out who he’s talking to, if he’s quiet enough. It’s about the way the footsteps in the hallway sound, it’s about the label on the bottle in his dad’s hand. Sometimes when Jason enters a room he makes a noise just to see: if he squeaks his shoe and his dad doesn’t notice, it’s his nice dad. If his dad grimaces or glares, it’s the dad that doesn’t like him, and Jason needs to leave. It’s all about knowing who he’s talking to, Jason learns. If he knows who he’s talking to, he can be better about making mistakes.

-- May Tomorrow Never Come, by @lurkinglurkerwholurks https://archiveofourown.org/works/43606872 1/1 chapters, 3.580 words G, No Archive Warnings Apply Main Characters: Jason and Bruce

Official Summary: Jason clawed his way out of the nightmare like a drowning man.

Why I love it: First, I think it is very good, as a fic specifically. All fics live in the soup of canon and fanon facts we absorbed along the way, and you knowing who the characters are and what happens to them in different iterations informs your understanding of them, but this one does it particularly well. Second. It broke my heart. It talks about trust and intimacy and kid/parent relationships and fear and nostalgy and love and. I love it.

Excerpts: The Manor waited outside the door, exactly like it should be. The hallway was quiet and dark, the darkness tight and full, but not scary. He hadn’t been scared here since those first few months, when this place was only a place. He couldn’t be scared at home, no matter how his head spun and his nerves jumped and jittered.

-- Red Letter Day, by @silverwhittlingknife https://archiveofourown.org/works/28988874 9/? chapters, 41,819 words (technically part of a series but can be read as standalone) - WIP, last updated july 2022 G, Chose Not To Use Archive Warnings (some oblique references to the blockbuster plotline) Main Characters: Dick

Official Summary: Dick Grayson, stressed pseudo-parent to a preteen assassin, tries to solve the case of Damian’s Mysterious Wednesday. He never expected it to help him fix his relationship with Tim, too. (… Though only after everything fell apart first.) Eventual fix-it for Dick & Tim’s Red Robin fight, but other rocky relationships - Dick & Jason, Tim & Damian, Damian & Bruce, Dick & Bruce - wow, this family is dysfunctional - might improve too. Eventually. They just have to, y’know, work through All of Their Issues first. XD

Why I love it: The characterization is delightful. Dick tries to hold the world on his shoulders, scrambling to hold everyone together; he's also very much not perfect, and biaised and petty against specific other people. Jason is an antagonistic asshole but he tries. Tim doesn't understand boundaries but means really really well. They love each other very much but they're afraid and they just talk over / through / just to the left of each other. This is a dumpster fire. Also the end notes of each chapter include interesting tidbits about what is canon (with specific runs/issues) which I personally find super interesting.

Excerpts: This is out-of-character: deliberately unprofessional. And it’s definitely deliberate. Dick doesn’t want to second-guess Tim’s first amicable overture in what feels like years. He catches himself doing it anyway. When Tim was fourteen, the faceplant comment might have been spontaneous - just a wry observation, maybe with a quick grin, sharing the joke. But Tim’s older now, and a lot more serious. So this casual remark is actually calculated. So what is this? An attempt to recapture an old camaraderie? Or is Tim covering up a bad mood with a chipper attitude? Or is this another manifestation of Tim’s concern, a test to gauge Dick’s mood? Argh. Or maybe Tim is just being friendly, Grayson.

[roykaplanpod]

Roy Kaplan is here!

Yes, you heard me right, Roy Kaplan: Out of Sight is finally ready for launch, complete with a proper (and actually correct) release date: December 28, 2024. I did say that I was going to get this ready for launch by the end of the year!

If you don't know what Roy Kaplan (or Roy Kaplan, Private Investigator if you prefer) is, it's a paranormal cyberpunk detective audio drama taking place in a (very low-key) post-apocalyptic future. It features the titular Roy Kaplan--private investigator, ex-burglar, and psychic--as he puts his wits to the test to solve all kinds of cases with the occasional assist from his ghost roommate, Wes. Stylistically, it draws significant inspiration from old time radio shows such as Richard Diamond and hardboiled detective fiction of the 1930s-50s.

This first season, Out of Sight, consists of twelve all-original mysteries, each 30-40 minutes long. It will be releasing on Saturdays every two weeks, with Patreon supporters able to hear episodes a week early.

Roy Kaplan is hosted on Pinecast, which means you should be able to listen to it on any podcast aggregator that supports RSS feeds. It'll also be available on common podcast apps like Spotify and Amazon Podcasts (right now Apple Music is having some hiccups, so we'll see what happens with that). It's also available on YouTube, if you like getting your podcasts through there.

Alternately, you can listen directly in your browser at my website, where you will also find the full voice credits and transcripts and writer's commentary blog posts if you're into that sort of thing. You can subscribe to my newsletter if you'd like to get notified of Out of Sight updates directly in your email.

I will have more to say about the show (about things like how to support production and whether season 2 will happen) but for now, season 1 is cooking and it's nearly ready to serve!

If you want more information about Roy Kaplan, the best place for information is the main page on my website, which will have all the links to everything else.

(For the trailer credits and transcript, that is also on my website.)

Happy listening, and I'll see you on the other side!

[bianca-mii]

Dears I don't want to kill anyone sharing this super-sweet moment (I have an even better vid for that purpose, ha-ha😈), but feel like sharing just a few remarks because the kittens are too cute not to😅

I have this feeling that Paul went for the kiss really very spontaniously, which we see rather rarely. When he's planning to kiss his friend (wink wink😏), he usually uses his hand(s) first to gently cup Richard's face. Here it seemed like the moment of tension shortly before was already too much, and Paul just listened to his heart😢

His actions were obviously unexpected for Richard himself, but just in time he adjusted the angle he held his head, got his lips ready and prepared his hand that he even briefly placed between Paul's neck and his shoulder, but perhaps there was one more reason to have this hand "ready". Perhaps he expected that after his little "antic" Paul might be quick to run away, so Richard would have to keep him in place somehow.

And he did: first he stopped Paul who was pulling away too much for Richard liking, and then put his arm even further, making it impossible for Paul to walk off. He was a little bit like: "No no no mister, you're not going anywhere until we let everybody know who is this little naughty thing stealing kisses during our concerts!"

And Paul, as if knowing Richard's message to the audience, looked at the crowd and pointed at his other guitarist: "It's him. The little naughty thing is right here, just look at him!"

On which Richard raised his hand with a thumb up as if wanting to get that extra attention: "Nah nah, you're not gonna get away with it babe, I have tousands of witnesses, they all saw WHO kissed WHOM and the little naughty thing is none other as you, Paulchen!"

Then Paul maybe decided Richard was having too much fun picking on him and just went for the hug to shut him up, and also, maybe slightly embarassed or shy after the kiss and being so boldly exposed by Richard, to hide his face behind Richard's face, he even slightly turned it away from the audience. Richard obviously returned the hug, even with both arms, grinning like crazy. Oh man... I'll never have enough of these two adorable dorks...

One little detail I noticed - Richard wears very little eye make-up here, and while he doesn't look ANY less attractive, maybe for Paul it had this additional vibe of not as much the "stage" Richard, or the "fans'" Richard, but more HIS Richard... (The one he sees when they wake up in one bed after a crazy hot night together... whoops... I apologize, too much fanfiction for my own good😳🤪)

Video from richard_paulfuuuk account on ig, no original credit known so far:(

[vindieselsfacebook-blog]

Omg I was positively foaming at the mouth reading this - thank you for sharing! As the self-proclaimed no. 1 AYITL defender, you're beautifully articulating so many of my opinions, too. I must chime in with some thoughts of my own:

I agree that it feels cozy and comfortable for me, too! It was never going to look as gorgeous as the early seasons filmed traditionally with Michael A. Price at the helm as cinematographer, but the colors and lighting are so much richer and beautiful than S6-7. I think a lot of people bristle at all the cold blues in the first episode, but babes, it's Winter - that's the point??? Fall is stunning. The sets look more expensive and lived-in than a lot of the original series does. On a cozy Sunday night, the episodes I most think about turning on for comfort-watching are the pilot, the last 3 in S4, sometimes the last 3 in S7, and AYITL!

AYITL has SO much gratifying closure and growth - I haaate when fans say they hate it because it feels like no one has grown and they've just been immaturely frozen in time. That's the point! They finally are!!! Wouldn't you prefer seeing that to being told it happened off-screen years ago?

I think the only thing I really disagree with you on is your more pessimistic takes on Lorelai and Rory, but especially Rory. "Rory is self-centered, thinks she is special, and has no idea how to deal with not getting what she wants. The consequences of her actions almost never directly affect her, and when they do, said consequences are quickly stamped on and snuffed out by her mother/friends/family." I totally disagree with this. I think Rory is a chronic people-pleaser with shaky self-esteem. Her family thinks the world of her and she often really struggles with the weight of those expectations. She's expected to succeed where Lorelai failed not just to justify Lorelai's entire life's ambitions, but heal her grandparents' wounds, too. Her father left her and shows little to no interest in her. Her paternal grandparents tell her to her face she's a disappointing mistake that ruined lives. It's not that she has no idea how to deal with not getting what she wants, but she has no idea how to deal with failure when she was doing all she thought she had to to succeed. She's a list-maker, a studier, a rule-follower - when things don't follow her obsessively planned plan, she melts down. Her worst decisions are made when she finally explodes after bottling up her emotions. People often say Rory never suffers consequences but that also isn't true? Headmaster Charleston enforces rules and punishments on her multiple times in S1 and nothing is simply handed to her at Chilton. She really struggles those first few episodes. Dean publicly breaks up with her and calls her out on her shit with Jess. She flounders her first year at Yale struggling to get her articles published then having to drop a class because she can't keep up. She tries to date and has a tough time connecting with people. Mitchum is an asshole to her and makes her doubt her entire career path. She doesn't get the NYT fellowship. The list of Rory's struggles, failures, and consequences go on and on. I really don't get why people seem to gloss over them? Because her mother loves her and believes in her in spite of these things...? Why do women in fiction seemingly have to "earn" love and support?

"Rory’s life rhymes with Lorelai’s." Obsessed with this line - what a beautiful way to put it!

I've truly never thought of a what a perfect metaphor coffee is for Lorelai's vices. You're soo right and it's soo good! Having Luke be the provider of her favorite coffee is also just *chef's kiss*

One of my favorite parts of AYITL is Lorelai redirecting Richard's inheritance from Luke's business to hers. In contrast to her begging for the tuition money in the pilot, this time feels like an empowered decision. Her dad wanted Luke to expand his business because he felt like his daughter's partner should be taking care of her. She says no, I'm the one taking care of myself and expanding my own empire - I don't need my husband to do that for me and I can honor my father's legacy myself. :')

Just to nit-pick, I must remind that Lorelai never "refused" to expand the Dragonfly - she literally couldn't and I think that added to her feelings of frustration and being stuck in place. There was no space at the existing building, protected wetlands preventing expansion, and she couldn't afford another property until she thought to use the money from Richard. Also, as symbolic as it would've been, the Dragonfly Annex isn't the Twickham House. Kind of glad tbh as I always found the Twickham House ugly as hell lol. I hate that storyline for multiple reasons, but the top is that it feels sooo not like Luke or Lorelai???

I'd love to defend Gilmore Girls: A Year In The Life for a minute (I don't usually make long posts and may delete this later for that reason) because I feel like writing something inconsequential.

Other people get lots of comfort watching the original show (especially in the fall). I feel cozier watching AYITL. The characters are much older; the dizzy, flighty, still-growing-up feelings for Lorelai and Rory have faded, and it's full of moments that make it clear that certain things in their lives are definitely always going to be there. Constants. Luke, Stars Hollow, family, Kirk, Taylor, the changing of the seasons. Now - for my defense. (I'm rambling.)

Okay, many, many people don't like the revival. I understand. It's different in a lot of ways from the original show, and lots of expectations were not met. When I first saw it, it threw me too. But I didn't dislike it. In fact, the more I rewatched it, the more I thought it was almost better than the first show. The leading ladies are not flashy young stars anymore - Rory is Lorelai's age when the OG show first began, and Lorelai is gracefully and fabulously careening toward grandma times with all her wit and charm, all her most comfy habits, and it makes me want to hang out with her more than Season 1 of the show ever did. And I think the fact that ASP came back to write for these characters again and end it on her terms, at last, was an absolute win, and I love how she did it because it fixed so many things I thought were wrong in the show.

Lorelai is self-centered, terrified of commitment, and has no idea how to put others before herself and not run away during the hard times - unless something involves Rory.

Rory is self-centered, thinks she is special, and has no idea how to deal with not getting what she wants. The consequences of her actions almost never directly affect her, and when they do, said consequences are quickly stamped on and snuffed out by her mother/friends/family.

Emily is self-centered, desperate to be in control, and finds her worth in what other people think, in how things look, and that includes what Richard thinks.

In the show, Lorelai has moments where she learns to stay and learns to put other people who are not Rory before herself. Those moments don't last. She definitely has good intentions, but they're all conditional. She only has good intentions up to a point - and that point is usually when someone or something threatens her happiness and feeling of safety, or Rory's happiness and feelings of safety (understandable; that's her child).

In the show, Rory is told she is the sweetest kid in the whole world. Rory is told she'd never do anything to hurt anybody. Rory is told she's special, she's smarter than her peers, she's not like other girls. Rory 100% believes that. She also probably has a bit of a problem with living up to that image - she wants to be all of those things, and thinks she is, and can't handle it when it seems like people think she's not. (That may or may not have something to do with Christopher, who always had somewhere more important to be, or with Lorelai, who was so cool and strong and sure of Rory.)

And the show has moments, too, where Lorelai has to face the music and see that she's screwed up or is hurting someone with her behavior (Max, Chris, Luke, Jason, Emily, Richard, Sookie), but very very often, Lorelai breezes her way through that music and keeps moving, and flits to the next thing or person that will make her happy, because she does not know how to stay and stand and fix what she's broken. Because it only matters if she is happy and if Rory is happy. (The same thing goes for Rory in the show - consequences come, but Rory rarely has to properly deal with them herself. She is coddled and propped up the whole way.)

Now, to my point!

I watched AYITL and noticed something was different right away. Lorelai is with Luke (she should be), who is the opposite of her - constant, loyal, selfless, determined to stay no matter how hard things get. But they're not married. Lorelai is scared to really commit, and marriage is one of the hardest things you can commit to - ever. And Lorelai is not happy. Rory, for her part, is not perfectly settled as a reporter or a journalist or any of the things she was always told she could be. And she's not happy. And Emily, bless her, has lost her husband and her false sense of control is spinning away, and of course, she is not happy.

And A Year In The Life takes the show's clumsy half-arc of these three Gilmore women and perfectly completes it.

Lorelai's fear of commitment and habit of bolting when things get hard drives her to push every new chef out of the Dragonfly, refuse to expand the inn to better accommodate Michel's needs, shun Rory's tell-all of her past mistakes, shame Richard at his funeral and break Emily's heart, and worst of all, nearly wreck the closest thing to a proper relationship she's ever had: the one she has with Luke. She can't face that she misses her father, loved her father, and that maybe her mother is right about her relationship status. She can't face that people might read Rory's writing and see all her flaws and all her mistakes growing up in printed ink, and she can't run from that. And when Rory insists, Lorelai cuts ties. Lorelai has spent years avoiding marriage with Luke. She has spent years hurting her mother in an effort to defend herself at all costs. And she has spent years ensuring the Dragonfly Inn is exactly what she wants it to be; because changing it would be uncomfortable, and as a result, she won't commit to a new chef, she won't expand, and she's about to lose Michel the way she lost Sookie.

Rory's bubble of self-centeredness and assurance that she's special is popped with the needle of reality at last: she is not special. She's a young woman who has to actually work hard to find a job and make some money, like everyone her age. She is talented and she is smart, but she's not God's gift to journalism, and people keep saying no, and people keep asking her to prove her skills and her merit, and she doesn't know how to deal with that because everyone has always told her she can do anything she wants and she's the best. She wants a distinguished career and can't find anyone who will take her on; she tries to write for a raging batty feminist (hello Alex Kingston I love your work) and that goes sideways; she wants Logan Huntzberger but she turned down his proposal and now he's engaged and it has to be a secret; she wants somewhere to live - just not Stars Hollow because she's better than the thirty-somethings stuck back home. She wants Lorelai to approve of her book and insists her mother give her this, as if Lorelai hasn't always given her whatever she could. And when Lorelai says no, Rory does what she wants anyway and almost fractures their relationship over it.

Emily's control is completely gone - she can't control her emotions, she can't control her tongue, she can't control her maid or her maid's handy family, she can't even control a stupid painting of her late husband. She's on a downward spiral and her anchor is dead. She tries to regain a sense of worth, because surely that will bring happiness back. She tries to gain it from how many possessions she has, that doesn't work. She tries to gain it from Jack, who is not well-suited to her but he makes a matching accessory to the life other people will see. That doesn’t work. She tries to gain it from therapy with Lorelai, control her daughter at last, that doesn't work. She tries to control Richard's headstone, that doesn't work. She even tries to find solace with her beloved D.A.R, and she finds that emptiest of all.

A Year In The Life has these women finally face their flaws head-on and grow. The way characters should.

Rory: Rory is confronted with the fact that she is not special and has to move home like everyone else her age and get a job she does not want, because that's life, and that's what everyone else has to do in the real world. And when she's at her lowest, pouting, she gets advice from someone who has faced his own flaws long ago and has grown and who knows her at her best, and encourages her to get up and work hard (Jess Mariano, ladies and gentlemen). And she does. Rory hits bottom and takes Jess's advice and works at understanding her mother, who is not perfect, and even goes to interview her father, who is also not perfect. She fights with Lorelai over the book and insists on her own way, and when Lorelai refuses, Rory can only blame herself. She has a rabble-rousing night with her LaDB boys and winds up sleeping with Logan in one more bubble of fantasy, one more umbrella-jump of escapism, like the old days, because Logan is her weakness. And when she wakes up the next morning, Rory turns and walks away from Logan and the affair and her insistence on having what she wants regardless of who she hurts (hello, Dean Forrester and her affinity for taking spoken-for men) for the final time. And the consequences of her desires? She’s pregnant. (Come on, we all know the baby is Logan’s; Rory’s life rhymes with Lorelai’s.) She goes to Christopher to interview him for the book and is subtly asking her father why he wasn’t in her life, because she needs to know what to do with her baby and her lover. She didn’t go to Lorelai to figure that out. She went to her dad, because the truth is, Rory didn’t have her father, and part of dealing with the consequences of her actions is to work out how to take care of this baby and whether or not that means involving the father. She’s owning up. She goes to Lorelai and offers to give up this book; she doesn’t make excuses or whine, she wrote the book anyway because she believes in it, but when she’s gotten three chapters in, she respectfully goes to her mother and asks her to read it and then, for the sake of Lorelai, not herself, Rory promises to quit and throw the book out if Lorelai does not approve. Because Lorelai is more important to her than herself. Rory has worked hard and made mistakes and gotten pregnant and she has stared the world in the eyes and seen she’s not special. And she has to deal with that. And she does, finally, deal with it. And she’s happy.

Emily: Emily is confronted with the fact that nothing is inside her control—except what she does. Worth does not come from what she owns or who she’s with or what she’s wearing, and it didn’t come from her marriage, either. That wasn’t why she married Richard anyway. She is miserable and alone, and part of that is her fault. She married Richard because she loved him, and she keeps coming back to Lorelai because she loves her, and she opens up her house to Rory when Rory needs a place to write because she loves her. Emily looks around at what she has and recognizes what has worth and what doesn’t, maybe for the first time, with clear vision. She recognizes that she can’t control everything. At first, that fact keeps her down. She forgets what day it is, the curtains are closed, and she doesn’t get up in the morning. No Richard, no Lorelai, no reason to move. And then Lorelai calls her, and tells her about who Richard was and what Richard did and how it mattered, and that inspires Emily. She can get up. She buys a place on Cape Cod, totally opposite of the sort of life everyone admires and expects to have worth, and she does what she’s really always been best at—she loves. She takes care. She took care of Richard, she took care of Lorelai and Rory when they needed it, and she takes care of Berta and her wonderful family, instead of having a maid take care of her needs. She packs up and moves out, she sends Jack away, she reveals the D.A.R. for what it is and quits them forever, and she takes a job at a whaling museum because she just likes it. It’s nothing fancy, and neither is her oceanic house or the music she plays in it or the clothing she wears, because none of that is worth anything anyway. Her family is. Her friends are. She gets the painting of Richard done right and brings it with her, and she gives up attempting control of everything and only takes control of how she behaves. She gives Lorelai what Lorelai needs for the Dragonfly, and her only stipulation is that she gets to spend more time with her daughter and Luke. She loves, she takes care of others, she helps. And she’s happy. And now, the best for last. The star.

Lorelai: Lorelai sits in that stupid Stars Hollow Musical and hears a song that perfectly describes her problem—it’s never or now. Make a commitment. Do something hard. Make your life about something other than your momentary present happiness and comfort, the way you do with just Rory, sometimes, but make it a permanent change. Make change permanent! Don’t run away! …And then she runs away. She’s been miserable, she’s hit bottom, like her mother before her and her daughter after her. She’s losing friends, she’s losing Luke, she’s losing Emily, she’s losing Rory over the manuscript, and it’s all her fault. Lorelai tries to breeze past it. She does Wild. She does what she’s never done before, she does something hard and uncomfortable, but she does it for herself, and therefore it doesn’t quite work. She tries to hike, Dipper Pines won’t let her hike, she meets other women her age who think this hike is gonna fix things, it doesn’t, and she gives up and goes to get coffee because that’s her go-to. (Coffee is speedy, bad for you, and only a temporary rush—kind of everything Lorelai clings to, actually.) But the coffee shop is closed, and when Lorelai is denied that allegorical Band Aid, she goes around back and sees a great view and finally finds clarity. She didn’t need the hike—she needed to think. She needed a moment of silence and introspection to gain the insane courage to finally stop moving, stick around, and face her fears. To put her eyes on herself and then take her eyes off herself and onto other people—namely the people she loves. Lorelai calls Emily and cries, because it’s hard to do this, it hurts, but with one story, she proves she loved her father, and she knows her father loved her, and the fact that she’s calling shows that she knows Emily loves her too, and she loves Emily, and has loved them both all along. It gives Emily the strength she needs to get out of bed. That was hard, but Lorelai did it. And now she’s going to do more hard things—she’s going to commit. It’s never or now, and Lorelai chooses now. She goes home and the first thing she does is propose to Luke and become Lorelai Danes overnight. Hard. Scary. Just right. She patches things up with her daughter, and chooses Rory over herself—for the hundredth time, yes, but when it’s at its hardest for her to do. “I’ll read it when it’s done.” Lorelai expands the Dragonfly using one of the biggest monuments to her fear of commitment – the Twickham House. She goes to Emily for help, which is also super hard, but this time it’s not for Rory – it’s for her, and it’s for Michel, and it’s for the Dragonfly. And she accepts Emily’s affectionate terms. Lorelai chooses Rory, Luke, Emily, and Michel over herself, and commits, and she doesn’t run away. And she’s happy.

And all of it is earned. Finally earned.

I could talk more about the incredible writing, about ASP at her best, about the perfect themes and scenery and the very intentional end to Paris, Lane, Kirk, Taylor, Dean, Jess, Logan, Chris, and the general cast’s stories, but I’ve already rambled for too long.

Suffice it to say: A Year in the Life is my Gilmore Girls. It’s best version of the story. I think it was expertly done. Not perfect, but an ending that was earned.

[skimblyshanks]

See the thing is King Richard should have kissed men.

[edorazzi]

Page 36 of my Miraculous Mentor AU comic A Matter of Trust! In which Chat Noir gets his kiss from Ladybug after all, but at what cost?! 💋💔

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[astronomic-explorer]

god dc fanon is actually crazy. "dck was gonna put tim in arkham!" BITCH HE TOLD TIM TO GO TO THERAPY 😭

[fighting-naturalist]

Mother says not to cry.