#but trust me when i say it's a fun show!

[starry-bi-sky]

im dedicating this to @detectivedarling. i felt inspired after seeing their little ficlet yesterday sadhjfl 🫶

-

Danny's grip on his cane tightens.

"What��"

His voice cracks. He stops, clears it, then tries again in spite of the nausea twisting in his gut. "What are — you, uh, watching, Bruce?" He sounds horribly far away.

Bruce doesn't look at him, his attention laser-focused on the screen. Which is— fine. It's usually not a problem, Bruce gets like that when he hyper-focuses on a case, and unless it's urgent — or he's been at it for hours — Danny sees no need to pull him away from it. He likes the quiet camaraderie they have, it's companionable and unique to the two of them.

He wishes he was right now though. Looking at him, that is.

That way he wasn't watching what was clearly one of Danny's ghost fights. One of the nastier ones, if the collateral damage and rubble on the street is of any indication.

Danny tries to remember which one that is. He shuffles a little closer to the desk, ignoring the rock in his stomach or the ugly weightlessness in his arms. It's not the blood blossoms, that much he knows. He just recently had an injection so it shouldn't be bothering him this soon—

So it's just nerves. Perfect.

Most footage of his fights are— messy, at best. Unusable at worst. Amity Park was obsessed with appearing 'normal' when they first started happening, and typical news stations censor the worst of the fights anyways for publishing, since they can get pretty gory at times. And ghosts move too fast to be caught on regular standard cameras, not including distance and light and—

That is to say— finding usable ghost fight videos is hard.

Danny wonders how Bruce got his hands on this one, and then stops wondering.

The audio is muted, which is - good. Good, because the fight is ugly and chaotic and clearly this was taken on someone's phone. Fuck, he can't remember if he ever saw that before — clearly not. They're hiding behind an overturned car, and Danny grits his teeth so he doesn't tell that idiot to run.

The camera turns up, and focuses on two figures in the air. It takes a few seconds, but when it does, Danny gets hit with a wave of vertigo. His grip tightens and he leans heavily on his cane, he waits for the black dots to disappear.

He- uh, he remembers this fight now. Uh, sort of.

He remembers being twelve at the time, and he remembers some of the injuries he got out of it. His eyelid spasms abruptly. This ghost wasn't one of his regulars, so he doesn't remember whatever name they had, barely remembered what they looked like up until- uh. Now.

Was he always that small? Well— Phantom's never been particularly big, perks of being a dead kid, but— it's - different. Seeing it from an outsider perspective. Was he that small? Or is it just because he's wearing a jumpsuit clearly too big for him that casts the illusion of being small?

Doesn't really - matter. Now. He can't access his ghost form, and he already knows the answers to his appearance.

Phantom is clearly bleeding, viscous and violently green like the bubbles of a lava lamp, clutching onto a limp shoulder that's missing an arm from the elbow down. Half his face is drenched in similar blood, the eye on the drenched side is closed — not because he can't see through the ectoplasm.

Danny's memories of that fight slowly come in a bit clearer. Right. He took a pole to the eye in that one. That had - hurt. A lot. Getting an eye gouged out usually does. It and the missing arm took hours to grow back.

He rubs his eye with his palm for no other reason than it itches.

The other ghost isn't untouched of any injury either, but he's not in a state of dismemberment like Phantom is.

Danny drops his gaze down at Bruce, whose sitting in his chair with his hands threaded together, looking so tense that Danny half expects to meet solid steel if he were to touch his back. His face is - blank. Terribly blank, with an intensity in his eyes that Danny doesn't see often.

He looks terribly distressed.

He opens his mouth, and finds that nothing comes out. His throat is thick with an ugly, tar-like feeling that makes his eyes sting. Kinda reminds him of when someone wraps their hands around your throat and presses. He closes his mouth, then tries again.

"B—" hhhhhh, "Buzz."

Finally Bruce looks at him, one hand slaps the space button on the keyboard, and the video pauses. His expression doesn't shift, but there's a weight in the lines of his face that reminds Danny of a set of weights sagging.

He looks quite like he's grieving something.

Bruce opens his mouth, his voice comes out terribly soft and heartbroken: "He looks like you."

Which is— a terrifying sentence in and of itself. One that makes Danny's legs shake and ignite his ragged, poison-chewed nerves alight with the need to run. An instinctive urge to deny, deny, deny.

How could he? He could say, that's a ghost, Bruce. I'm not a ghost. He could crack a joke, and ask, 'do I look dead to you?' or say something about how he knows that his parents studied ghosts, but that didn't make him one.

He could say that, and he could say it knowing full well that Bruce would see right through it. He'd probably let Danny too.

Danny closes his eyes. They sting, you see? So does his nose, right in the back like someone popped him in the face. And his throat is thick and gross and like someone stuck a spider, the big fat tarantula kind, right down into his esophagus.

He breathes in — through his mouth, because his nose stings and so it'd be best not to irritate it further with air — and it's terribly shaky and uneven. But it clears a pathway to his lungs big enough for him to say — whisper, really:

"You know, I think you're the first person to notice that."

[bumblingbabooshka]

Tuvok Voice: You are her official right hand while I have been making detailed psychological observations about her for the past four years - we are not the same.

[Patreon | Ko-fi]

[faaun]

the way that diff languages sound r so fascinating they're all different and all so vivid

[hpdfag]

feel like im getting stabbed in the chest every time i think about him. is this even what love is supposed to feel like

[wolfwarrior142]

Do you think Marcos saw enough of Rayla's face to ever see her in the castle now and think, "...wait a minute."

[notajoinerofthings]

for lent i'm also giving up wasting emotional energy on people who have shown me time and time again that i'm not a priority for them.

[nobodybetterlookatme]

Okay time for me to 🥰 in the tags real quick lmao

[dykesapphics]

Ppl are being deliberately obtuse about Idle renewing their contracts, who would've thought

[ciderjacks]

DEADLOCH SPOILERS WATCH THE SHOW BEFORE U READ

Wait ok no oh my god, if I’m understanding correctly, so, Bushy’s murder was an inside job, right?? Like, a fellow cop killed him, and then the whole force not only gaslit Eddie but told her it was her fault he died. And then they sent her away, again all saying it was because she was the reason Bushy died, when really it was bc they didn’t want her around bc they knew she’d find out the truth…

that’s actually so fucked

[arolesbianism]

Shakes and cries I wanna make Jackie parent hc designs but I can't because potentially one of them is a prevalent character now and her ass has not spoken a single line yet so I both know nothing and can't just start making shit up yet </3333

[orcelito]

God I don't wanna go to therapy tomorrow. Sick of talking about my feelings in a clinical setting. I do enough psychoanalysis just by myself, and now I gotta sit through it with someone else??? Come on.

[inga-don-studio]

Art installations that don’t take themselves too seriously my beloved

[randum-famdoms]

Prev’s tags are too interesting to lose

Also it’s not just tv; it’s movies too I think. Live action American sci-fi/action movies to be specific. I can only think of a couple made since streaming got big that I felt like I actually knew who the characters were, and liked them, and felt like they actually cared about each other. Other genres have this problem too (comedy comes to mind), but none so extreme as in action and sci-fi. Feels like lately it’s all just rewrites of the same script but with different set dressing and they forget that you also have to have characters, not just a half a concept and a tired plot with cgi sprinkles.

I know the characters’ names and maybe a motive if I’m lucky and that’s it. Then one of em dies or is kidnapped or whatever and the other characters are so heartbroken and like… did they even know each other? Cause they met like a day ago and haven’t had a single conversation longer than a couple minutes, and they only talked about Plot Things.

There are some standouts obviously, The Equaliser series comes to mind, but it’s the exception, not the norm

I don't know what those '90s sci Fi TV writers were putting in their shows but I wish they'd start doing it again

[hauntingblue]

Skypiea time

Robin saying that because I know she only got on a ship to then leave it...

Nami sees Conis and gets sanji out of there so SHE can talk to her akdhksajka not a single second lost

Hello my favourite panel of nami maybe ever

Sillies...

CHOPPER YOU ARE THE CUTEST

Robin throws this guy off a cliff and to make just to make sure she breaks his neck too akdjsksk who is doing it like her???

OMG ACE!!!! IT IS TIME!!!!

[buddieism]

hari which one should i watch The Boys or Succession?

succession 1000%... you need to meet the worlds most incredible character kendall roy i swear he will change your life for the worse my poor miserable kendallito.........

[writeblrfantasy]

my 10 holy grail pieces of writing advice for beginners

from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)

show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."

no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.

if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.

never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.

every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.

every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.

arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)

epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.

your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.

plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.

happy writing :)