#chaos sauce

[femmefaggot]

You’ve gotta snap out of this feeble dream And let yourself be free, come on back to me

[natalievoncatte]

Kara heard a distinctive hollow pop as she approached Lena’s apartment. The doorman had been gracious enough to let her up, informing her that Miss Luthor was expecting her. She knocked on the door and listened intently. The soft clink of a bottle being set on a table and rather gentle passing of Lena’s feet on the hardwood floor. Kara resisted the urge to peer through the door.

When it swung in, she wished she’d had the chance to prepare herself. Lena was visibly distraught, eyes red rimmed from crying and cheeks puffy. She was dressed down in a a sweater and leggings, and couldn’t meet Kara’s gaze with her own.

It hurt. Seeing her like this physically hurt, gouging a dull ache into her chest. Her first instinct was to reach out and scoop the smaller woman into a tight hug, make her safe, to wall her in with her arms. Kara fought it down and sighed.

“You… don’t look so good.”

“Come in,” Lena said, her voice soft and flat. “If you want to hang out with a monster, that is.”

Lena turned and trudged back into the apartment as if she was walking to the gallows. She fell back into the couch and grabbed the wine bottle from the table, long since having abandoned the pretext of glasses.

“You’re not a monster, Lena.”

She stared at the bottle and took a long pull from it, the wine sloshing around the bottom.

“Yeah I am. You ever watch Godzilla movies?”

Kara blinked. “What?”

“Godzilla. Giant radioactive lizard.”

“Of course.”

Lena snorted a bitter laugh. “Monsters are born too large, too strong, too tall. That is their tragedy. Or something like that. Director of the movie said it. That’s me. I’m not trying to hurt anyone, it’s just in my blood. It’s who I am and I’ll never escape it.”

“That’s not true,” Lena said, softly.

She looked around the apartment, shocked to find dishes piled in the sink and two more empty wine bottles lined up on the kitchen island.

Kara quickly moved to the couch. Lena offered no resistance as Kara took the bottle. Lena stared as Kara took a long, glugging pull.

“There. Now you’re not drinking alone.”

Lena smiled weakly. Kara didn’t mind the taste of the wine but as far as getting her drunk, it was like pouring it down the drain. If she could keep Lena from alcohol poisoning, it was worth it. Kara felt a tug in her chest. Lena looked so soft, her big eyes wet with tears.

“I only wanted to help.”

“You did, Lena. You saved the world.”

“Children, Kara. Sick kids, dying because of me.”

“That’s not true, Lena. Edge is cooking the data, you know that. We’re going to clear your name and I’m going to help.”

“I’m so tired, Kara. My own brother tries to murder me once a week because I won’t help him try to take over the world. I keep getting kidnapped by my insane family and aliens and God knows who else and I’m tired. That woman today almost killed me. One of these times there won’t be someone to jump in front of the bullet and it’ll be my time.”

“That won’t happen.”

Lena shook her head, failing to fight back the tears. “I’m so tired of being everyone’s monster.”

“You’re not a monster to me, Lena. You are so good. You work so hard and care so much, and people don’t even know about your work at the children’s hospital, the reading to the kids. You’re a saint.”

Lena looked at her sharply. “How did you know about that?”

Kara thought, FUCK.

She fiddled with her glasses, knowing it was a tell.

“I um, well I am a reporter. I won’t tell anyone, I know you don’t want publicity.”

“Kara, I’m confused. I put a lot of effort into making sure no one knows I do that, so the kids don’t have to deal with the bullshit my life brings. Have you been following me?”

Kara licked her lips.

Just holding back the truth isn’t make it a lie, did it?

“More like keeping tabs, just to… keep you safe. To watch your back.”

Lena looked horrified. Kara’s chest seized and she thought for a moment that she’d gone too far.

“Kara, I don’t want you doing that. If Edge or my brother come after me and you’re in the way, they’ll kill you. You can’t risk that, you don’t deserve it.”

Lena grabbed her hands. “Listen to me, Kara. I have a target on my back. I have a price on my head. Sooner or later my number is going to be up and I’d rather die than have you be the one to catch the bullet. I just want you to be okay.”

“They won’t get you.”

Lena pressed her eyes shut and choked back a sob. “Yeah, they will. I’m living on borrowed time. It’s just a matter of the odds, in the end. Next time James won’t be there to take a bullet for me and Supergirl will be too busy and I’ll just be another monster on obituary page until-“

“Stop it!” Kara barked, shocked at the sharp snap of her own voice. “Stop it. I won’t let them.”

Lena’s eyes snapped open and she stared at Kara, more than a little shocked. Her hands tensed, closing tightly around Kara’s.

“Don’t put that on yourself. I’m not you’re responsibly and I don’t want you risking your life for me. It’s just not worth it.”

“You are worth it,” Kara insisted, shaking her hands a little as she leaned in. “You are, and I won’t accept that you’re not.”

“I love that you believe in me so much.”

Kara’s heart did a backflip. Love? She loved it? Lena was looking at her with such a softness in her eyes, and Kara scolded herself that she was drunk, that she might say things she didn’t intend or didn’t want to slip out.

“But,” Lena said, “you’re just one person, you can’t save me from this.”

Kara’s jaw set as she bit down on this pressure growing inside her, as if something had taken root in her chest and grown and grown inside until it made her ribs creak and her heart ache and it would split her open if she didn’t let it out.

She wasn’t drunk. She was lucid, clearheaded, but Lena was gazing into her soul with tear-filled eyes and she looked so small and vulnerable and resigned, like she was just waiting for her turn at the headsman’s axe.

Kara couldn’t take it. She couldn’t fucking take it, and the words came so easily she scarcely knew how she’d held it in for so long.

“I can protect you, Lena. I’m Supergirl. I can do anything.”

Lena’s soft expression twisted into a scowl.

“Bad time for a joke, Kara.”

Tenderly, as gently as she could, Kara guided Lena’s hand to her glasses.

“Go ahead.”

Lena hesitated, chewing her lip, eyes flicking strangely, gaze surveying Kara’s face- looking at her eyes, her scar, and in a way that pulled at Kara’s heart, her lips.

Slowly, carefully, Lena pulled the glasses free, visibly surprised by their weight.

“They’re lined with lead. It helps with sensory overload.”

Lena raised her now shaking hand and her thumb grazed Kara’s ear as she reached back to unclasp the clip holding Kara’s hair, allowing honeyed tresses to spill free across her shoulders and down her back.

“Look at me, Lena.”

Lena looked. Her expression flickered from pained annoyance to shock to something Kara couldn’t quite identify.

“You lied to me,” Lena whispered.

Kara bit back some lame excuse, like I never said I wasn’t Supergirl.

“I did, and I’m sorry. If this means your feelings about me have changed, that’s okay, but I won’t stop protecting you. I won’t let Morgan Edge or your brother or anyone hurt you. Never you.”

Kara’s jaw trembled as she spoke and her heart was racing.

Lena’s was doing the same, beating too fast in her chest. Kara carefully put her hands on Lena’s shoulders.

“Easy,” she said. “I know this is a shock.”

“When you caught me after… when you saved me from Lillian… when you… the helicopter… that was you?”

“Always, Lena. I’ll never let you fall.”

“Kara?” Lena whispered.

She was staring, but rather than meet Kara’s gaze, she was looking lower, eyes fixed on Kara’s lips. Kara’s gut did a backflip at the way Lena was looking at her, mouth slightly parted, flushed, her heart racing.

If Kara was human, she might pick up on those things, or she might not. She might be confused or briefly wonder if Lena was really looking at her the way it seemed she was.

Kara Danvers was not human. She could look up and see particles dancing across the atmosphere in hues for which humans had no names because their eyes were blinded to them. She could hear the rapid beating of Lena’s heart and see the heat blooming on her skin and taste on her tongue the tangy, pleasant musk of the pheromones Lena was emitting, and she could do it all so fast that her mind processed it so quickly that it could barely be measured. When Lena began to lean towards her, she watched it happen in curious slow motion.

When Lena kissed her, it was an explosion of sensation. Not just the soft warmth of her lips but her scent, her real scent breath the perfumes and sharp tang of wine smell, the pure scent of Lena herself. The soft sigh that broke from Lena’s lips was a symphony, and Lena’s hands on Kara’s flanks was like a blast of firecrackers running under her skin to ignite a sudden flare of warmth low in her hips.

Lena was kissing her. Kara was kissing her back, consuming every aspect of the contact in perfect detail, burning it into her solar-powered Kryptonian mind where it would live in perfect detail for the rest of forever.

She gently, oh so gently, pushed Lena back.

“Lena, stop.”

“Oh,” Lena murmured, her face falling. “I didn’t… I’m sorry… I thought… I misread…”

“No, no Lena it’s not that I promise, you’re drunk. You’ve had too much to drink and I can’t let you do anything while you’re like this, I couldn’t take it if you wake up tomorrow and…”

Lena blinked back tears.

“Oh my God. You really are a superhero, aren’t you?”

“I’m just being decent.”

Lena smiled sadly. “I don’t deserve you.”

“Well, you’ve got me, Lena. You’re not getting rid of me.”

Lena actually laughed, a bitter little chuckle that made her look away in embarrassment.

“I can imagine Lex seething if he found out about this.”

“Alex is going to kill me.”

Lena giggled. “Oh my God.”

“What, um, what is this, exactly?” said Kara, her voice cracking with tension. “I mean, you kissed me.”

“I did,” Lena said, guarded. “I’ve wanted to for so long. How does the saying go? In vino, veritas?”

“In wine there is truth,” said Kara.

“Yeah.”

“Lena, we’re going to get through this, I promise, and I will always protect you. Always. Right now I need to protect you from the hangover you’re going to have tomorrow. I’m putting you to bed, and I’m sleeping on the couch.”

“You don’t have to do that.”

“I don’t have to, but I need to know you’re safe, and you can’t get any safer than Supergirl crashing on your couch.”

Lena blurted, “I could have her in my bed.”

Kara thought her soul might leave her body.

“Not when you’ve had this much to drink.”

“God, you are amazing,” Lena sighed.

Kara nodded. “If you say so.”

It took a while for Kara to actually get Lena into her bed. Lena was suddenly taken with an extreme tiredness and Kara let her lean on her as they walked down the hall, fighting the urge singing in her veins, demanding that she pick her up and just carry her.

She may have been Supergirl, but even she had limits.

Once Lena was curled up in blankets and safe, Kara puttered around the apartment, doing the dishes, cleaning a little before she fell back on the expansive sofa to sleep.

When the warm morning sun woke her, she sat up and found Lena staring at her.

“I didn’t dream that. You’re really here.”

Kara rose from the couch and approached her tentatively.

“Yeah. I’m really here. Lena, if you’re angry with me because…”

Lena cut her off, darting forward to plant a soft kiss right on her lips. Kara froze as her brain essentially rebooted.

“Oh,” said Kara.

Lena smiled softly. She still looked bedraggled and had clearly been crying, but the smirk on her lips was everything.

[sluttycinderella]

y’all do get that if dan and phil hard launch it will break the internet right? like people who haven’t thought about dnp since 2016 and literally everyone else with an online presence will know. suddenly there will be so many new eyes on our cute little community that we’ve managed to build from the ashes of the early phandom. it’ll be worldwide news that those guys from youtube who “weird girls” always shipped were actually together the whole time. it’ll be absolute chaos. it’s not that i don’t want them to hard launch if that’s genuinely what they want to do, i’m just afraid that it’ll send shockwaves through the entire internet that’ll shatter the nice little thing we’ve got going on here. i for one don’t want to be talking to an acquaintance in class next semester and hear them say “did you hear that dan and phil from youtube are together? that’s crazy! i never watched them ‘cause their fans were always so weird. i didn’t even know they were gay. i guess their fans bullied them out of the closet.” and then have to pretend to be normal.

[chaos0pikachu]

Film Making? In My BL? - The Sign ep01 Edition

So, if we're doing this we're doing this, so buckle in baby.

I'm gonna focus how the opening scene below, uses two narrative devices and one film technique to build out the scene as a whole: in media res, misdirection, and the long take.

Okay so to begin, we have to start at the beginning, or well, the middle lmao

In Media Res

I saw a post in the tag that said something to the effect of how The Sign starting with no context and providing no information at the beginning was strange, with the implication it was bad writing. I disagree, fundamentally, because The Sign is using a very common literary device called 'In Media Res'. And in my opinion, uses this device very well.

If you're familiar with basic storytelling terms I ain't telling you anything new, but for folks who may not know, in media res is a latin term that means "in the midst of things" and lots of stories - both prose, comics, and film - use this device.

The most famous is The Iliad by Homer, which if you've ever read - and you should it's glorious also it'll give some context to Song of Achilles - you know it drops you full-on no context into the middle of things. The beginning will differ in verbiage depending on the translation you pick up, this free version starts with:

THE CONTENTION OF ACHILLES AND AGAMEMNON. In the war of Troy, the Greeks having sacked some of the neighboring towns, and taken from thence two beautiful captives, Chryseis and Briseis, allotted the first to Agamemnon, and the last to Achilles.

Right off the bat the story drops four character names and the setting with no real context. Who are all these people? Why is there a war? Well, keep reading to find out! It also starts the story with an action aka an argument - nay A CONTENTION!! Achilles and Agamemnon are such bratty bitches lol

Other (more mainstream) examples include:

The Dark Knight

Lost

28 Days Later

Mission Impossible (pick one)

Fight Club

Full Metal Alchemist (both)

MDZS

Inception

And, The Sign.

"In contrast to linear storytelling, which starts at the beginning and moves sequentially, in medias res is a nonlinear approach that can make stories more dynamic and immersive.

It's a technique that challenges the audience to make sense of the narrative puzzle, often revealing essential information about the characters and their motivations gradually." (source)

What's described above is exactly how The Sign, starts it's story, in the middle of things, specifically to create a puzzle for the audience to figure out gradually. If you watch the above scene, what's happening?

We get a (well done) overshot of an island (establishing setting), we see a group of soldiers (establishing the characters we'll be following) we see them doing military things (okay these are their skills, and they're on some sort of mission), their drone spots a group of people inside and a character says the dialogue "Listen up, you only have 15 minutes" (this establishes stakes, okay there's a time limit to this mission) "Team A will rescue the hostage" (okay now we know what the mission is and informs these characters are on a rescue mission).

Who is speaking here? We don't know yet, but a safe assertion would be this character, since they are the first character who speaks on screen, will be important.

And we'd be right because it's Phaya speaking, one of our main protagonists as well soon find out.

All this happens within the first minute; the show provides an interesting set-up. It deals out information in tidbits - setting, characters we'll be following, situation set-up, stakes - but not enough information for the audience not to ask questions.

I want to iterate that at this point, the goal isn't to "care" about the characters yet, so much as create an intriguing set-up based in action that will showcase various information about the tone, setting, and skills of the piece that will engage the audience. To make the audience ask questions, to engage with them.

When you open up on MDZS the protagonist, Wei Wuxian is dead and we have no context for this. Everyone is just in the middle of celebrating his death and we, the readers, do not care that he's dead or why he died. The story could have started in a more linear way, with him arriving at Cloud Recesses arguably the beginning of his journey, but would that have been as interesting? As engaging?

I like how this article breaks down the why of starting your story in media res is a powerful and often used device:

This is what The Sign is doing in this opening part. Starting the action of the series off with action and creating that immediate engagement. The scene also ends with a plot twist which connects to that final point about information control.

This isn't a technique I've seen often used in BL because BL is a sub-genre of romance and most romances are told in chronological order, rather than non-linearly - there are, of course non-linear romances, but most mainstream romances, and by extension most BL aren't told in this way - BL shows don't often have actual physical action. A majority, especially in Thailand, are grounded, closer to slice-of-life, coming-of-age, and comedy dramas - though we are starting to see a change in that trend.

So starting in the middle of things, like chepa the middle of what? Two dudes walking~ to Engineering class?

The goal of this opening scene is to pull in the audience, make them wonder and ask questions: "who are these characters? will they rescue the hostages? who are the bad guys? who is this character who's having visions?" and so on and so forth. It's a way to engage in the audience without having to slow down the narrative with a ton of exposition, or build up stakes slowly, rather it grabs the audience immediately and sets them in the middle of the tension asking them to engage with what's happening.

The Long Take

You've probably heard about "the long take" but to break it down, a long take is one continuous take without any edits/cuts. The film 1917 was famously filmed to "look" like one long take. One of the most cited and well known long takes is from Children of Men by Alfonso Cuarón:

Now if you watch this movie you can tell why there isn't a lot of BL long takes because, god damn, they built a new type of car just to get that one scene. [read here for more on long takes]

So, The Sign. It's long take starts at about 2:08, following Phaya - again, we the audience don't know this is Phaya BUT since the camera is spending specific time with him we assume he is An Important Character and he is! Set up and payoff! Funny how that works - and ends at around 4:27.

[Sidenote I love that the take ends, not with a cut but a transition. Which I'll cover in another post but in the land of Thai BLs which favor cuts so damn much transitions were so refreshing to see]

During this long take, we establish that these characters are competent at what they do. We understand that they're military trained, in both hand-to-hand combat and firearms. We also get these two mid-close ups, which signifies these will be Important Characters:

And they are, the first shot is of Phaya, Khem and Thongthai and the second is Tharn and Yai.

This also sets-up the character dynamics; Yai and Tharn are already close and know each other so they are drawn to each other while on the mission, while Khem and Thongthai have a pre-established relationship but are still supporting behind Phaya.

This type of shot also allows for the audience to better see and follow the fighting that's happening on screen. Filming fight scenes are their own beast, and while there's no one school of thought on how a film scene "should" be filmed, there are techniques that that place some fight scenes above others.

The first video showcases some techniques on how to film a fight scene, while the second one at the 8min mark talks about the long take in John Woo's classic action film Hard Boiled.

This long take in Hard Boiled really showcases why long takes are so powerful in filming a fight scene specifically. They pull the audience further into the action and create a palpable energy that just works better than a scene with lots of quick cuts.

There's a reason one of the biggest criticisms of Mortal Kombat (2021) was that all the fights were edited to pieces while John Wick (2014) was a refreshing jolt to the industry.

The Sign takes a page out of John Woo's book, and places the characters, and the physicality of the scene front and center, pulling the audience along with the camera in one long shot.

Long takes are hard, I can't really emphasize this enough, if you watched that video on Children of Men you can see all the intricate work that went into scenes that amounted to maybe 5mins of actual film time. Likewise this long take in The Sign is only about 2mins of actual time in the show BUT it's effective, it's engaging, its ambitious.

Which is why, I gotta give The Sign it's roses because of that ambition. Long takes are a lot of hard work, time, effort, blocking, rehearsals, on top of incorporating the fight chorography that's a lot and it looks good.

Now is this the best~~~ long take I've ever seen? lol no god but it's well done and ambitious especially for the sub-genre of BL.

Misdirection

Misdirection has more in common with in media res than the long take as it's a literary device and not a filming technique.

From Gotham Writers:

"In fiction misdirection can be either external or internal. That is, the author can be using the story as a frame to misdirect the reader, or a character in the story may be misdirecting one or more of the other characters. Or, of course, both." (source)

Misdirection is often used in thrillers or mystery narratives, Hitchcock used misdirection a lot in his films.

In Psycho the audience is lured to believe that Marion, the character the film opens with, builds up, and essentially sets up as our protagonist, is in fact our protagonist. She's not, she's murdered and her sister, Lila, is the actual protagonist of the movie. Sorry if this is a spoiler for an almost 70 year old film lmao

Misdirection is often used to set-up plot twists down the line. A good misdirection will leave clues for the audience when they watch back and go, "oh! I can't believe I missed that!"

In film The Sixth Sense is a good example of this, where the plot twist at the end doesn't weaken the film once you know it but rather, it enhances the film itself on a rewatch. Another good example of misdirection in film are both Knives Out and Glass Onion, where Rian Johnson will set up a non-linear story and then slowly unravel the information for the audience.

Take the scene where Marta, in Knives Out, finds Fran's body and hears Fran say "it was you" at least to audience ears. Then stands up looming above Fran's body. The scene cuts, and the audience is led to believe Marta has let Fran die to protect herself (since we the audience also have been led to believe Fran is dead) only to find out later that Marta didn't let Fran die, she is alive, and she knew Ransom was the killer.

The Sign uses misdirection in a much more simple way. It sets up an expectation: Phaya is going to die, upping the stakes from "must save hostages" to "must save a comrade" aka the character we, the audience, have been following for the last 11 minutes. It sets two characters, Chart and Phaya, as opposing against each other, for reasons we don't know - is Chart one of the villains? Why is he trying to kill Phaya? etc - and the audience is led to believe this is a life or death situation.

Then, plot twist. The reveal happens that this was all a training exercise, and there was never any "real" danger whilst also keeping the audience on their toes. And like in The Iliad, now we have context for the mission, and then the story is able to step back and explain.

It's not like, the best~~~ use of misdirection but there was a purpose to it. It sets up an expectation, and subverts that expectation of the audience - but in a good way not a Game of Thrones way. While also pulling the audience into the show by starting in the middle of the action rather than slowing down the story with exposition or giving their hand away to much that this was a training exercise.

If you knew it was a training exercise, suddenly the stakes feel less intense because none of the characters are in any real danger, but not knowing that, withholding that information until it's relevant, ups the stakes of the scene.

The opening scene of The Sign imparts a lot of information without using a lot of dialogue and I find that impressive. We learn which characters will be relevant to the story - Phaya, Tharn, Yai, Khem, Thongthai and now we know, Chart is also important - that they are skilled combat fighters, knowledgeable in firearms, there's a fantasy element to the story via Tharn's visions, they're on an island which the setting for right now, and the tone and aesthetic of the show itself.

It's actually a fun scene to rewatch again with more context because I appreciated it even more. Which is just good film making.

I didn't talk much about the camera work - needless to say it's notable and fun - but maybe I'll save that for the next post. What other shows or scenes would be fun to breakdown? Drop me a line but heads up I don't actually watch a ton of shows so idk if I've seen xyz show lmao

Later chepies ✌️✌️

Other posts in the series:

Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI

[like these posts? drop me a couple pennies on ko-fi]

[hms-incorrect-quotes]

Mind: I know we’re not exactly friends right now, but-

Heart: What do you want?

Mind: I've been stuck with Atlas for two hours and it's been drinking all the soy sauce.

Mind: Help.

[tridential-sauce]

SO.

CCCC AU. The three of us fell into a RABBIT HOLE fantasy au for CCCC. We don't really know how to get your attention so we will simply throw out words about the Rotten Faith AU.

God Eater Mind. God wars. Rot Angels and Eternity. LITERAL Angel Heart. Mechanically Modified Angel Mind. The Rot Consumes. Healing and friendship. BLOOD SACRIFICES. Soul Religious Corruption arc. Heart and Mind being friends <3. But not for long </3. Abandonment Issues. The Shot But Worse. Cacophony But Worse. {but they become friends again <3}

(delicious delicious dead dove do not eat levels of angst-)

Ask us if you want more info about the Rotten Faith AU :3

-🖋️

[sneeb-canons]

Headcanon #99: Soul eats the most random things especially late at night. Heart or Mind will walk by Souls room or by the kitchen and just see him there eating a bottle of sprinkles or a bottle of hot sauce. Just like by itself. Nothing else.

[spimmed]

silly the ask and the answer thingy!!

idk why i made their suits red. looking back i was like wow. why did i make them red. bc i dont remember if it said a color. in the book. and now i feel dummy

but Im also screaming into a black void rn so i dont think anyone minds much do you???!

they have longer hair. davy prentiss mullet. davy prentiss sleeping above the stables bedhead mullet. & he ate.

text is in alt text if u cant read my handwriting 🔥🔥

[morethansalad]

Grilled Wild Betel Leaves / Bò Lá Lốt Chay (Vegan)

[witchmd13]

What's a food you like? Gimme the recipe :D (Also, sorry if this is a sensitive topic to you, I genuinely don't remember if it is and you do not have to answer)

it's not sensitive at all! Thank you or the question!

Most of my favorite foods are just alterations on recipes I've learned in the past. anxiety gives me sensory issues that have to do with food texture sometimes and my diabetes meds play on my appetite a lot. so when I find something I can eat I make it repeatedly for as long as I can. This recipe is what I've been making a lot these past few months. It's basically chicken mushroom with soy sauce.

Ingredients (I suck at quantities I go with vibes mostly but I'll try to write them anyway):

3 tbs mushrooms (of any kind but I prefer white button) shredded chicken breasts 2 cups chicken broth 1 tbs soy sauce garlic dried thyme 1 tbs flour olive oil salt and pepper

heat up the olive oil in a frying ban on medium heat then add the chicken breasts until they're golden then put them aside. (Don't add any seasoning at this point we'll add everything later!)

Chop up the mushrooms and add them to the olive oil (if there's too little oil left, you can add a little more). continue to cook over medium heat.

after 7 minutes or so, add the thyme and garlic and wait for another 2 minutes.

on the side, mix the chicken broth with the soy sauce. season with salt and pepper to taste. i usually also add the soy sauce to taste, but 1 tbs is good I think.

add 2/3rds of the chicken broth/soy sauce mix to the mushrooms.

add the chicken breasts you put aside and stir a little.

add the flour or starch to what's left of the broth/soy sauce mix and stir (make sure the broth is cold or the flour would form lumps).

add the mix to the ban and cook over low heat. I usually let it cook for a couple of minutes.

serve over mashed potatoes or with bread and enjoy!

Thanks for asking this!! I had fun writing it down :) also don't be fooled by the steps it actually takes 30 minutes max to make this, it's so easy.

[asterias-corner]

oh no my friend, are you having a bad day :(

here

Have a majesty for your troubles and keep on boyslaying >:)

awwww thank you chaos!!!!! <3

I am boyslaying so hard now thanks to this ‼️

[femmefaggot]

Seasons go through the in between And they're never stuck in the middle And how do they know to be Autumn or Spring Breathing life or stillness in the foothills

And how did it come to that, to this, Any more than I've come to where I am? And now that I am here, I guess It'll just be what it is

[catboii]

>While laying on the sofa, in one of your human forms, stark naked with onion skin on your titties, the man on the shopping channel in the background that you left on for one of the cats, is showing off a steam mop. As he pushes it around some little floor samples, he says 'you can use it on heavily soiled surfaces, something this dirty and grimy-'. You giggle and announce to Dave and Davesprite, "relatable. I am also a heavily soiled surface." Then the man continues, 'you can really get it in there. Right into those little cracks. Look at that steam coming off it'. You don't need to say anything. You give Davesprite a LOOK. This is basically pornographic. How can they air this shit?

[vixlenxe]

Everyone focuses on the grumpy or angry characters (re?)discovering gentleness & kindness.

Well I say fuck that. The real sauce is when the happy or really kind character suddenly have all that kindness leave their body & get piss angry. Nice characters choosing violence is where it's at.

[jtbb]

does anyone else get Really Stressed Out when their food is like a Bunch of Different Stuff all on one plate like i need my food to be just the same ingredients within every bite or else i will explode

[unknownchaos]

YOU.

HOW'S YOUR SPICE TOLERANCE?

Pretty high, I love spicy food so I eat it a lot. It's gotten to a point where most of the Hot Sauces with "Extreme" on the label end up tasting more sweet than spicy.