#despite the bullshit.

[astoldbychae]

I know I really haven't told Melo's story (or any story) in its full true capacity to my liking, yet...(its been gameplay shenanigans up until this point)...

But the "OC Ask Game" thingy got me thinking...and I've been sorta, kinda melting (for no reason at all) at the fact that Marguerite still calls Melo "Suge" (which is his childhood (preteen-hood...?) nickname (She does it at random, like it'll come up in basic conversation because it's muscle memory at this point...but also what ties her to him (and makes her feel...a sense of comfort).

I honestly despise her for what she did to break up their marriage (And I LOVE Monet down) but knowing that she still calls him that (at random) and seeing the way he responds (in my mind) is the cutest thing. Its' harmless (in my mind...it may be calculated in hers *shrugs*)... Like, yes, he loves Monet down! And things are done with Marguerite...but the little things (like being called "Suge" gives him a sense of security/feels like home) and my heart melts a bit because of it...It catches him off guard EVERY time...but he doesn't show it. It's like this harmless thing that means nothing but everything at the same time...It just flows during conversation and he bypasses it (but also notices it...yet thinks nothing of it...if that makes sense)

Despite EVERYTHING that went down between the two, he still wants what's best for her, even though she is THEE biggest pain in the ass. He wants to see her happy. When I tell ya'll he loved the hell out of that girl...and was heartbroken by what she did to him and their marriage...but his heart still wants her to be happy because she is the mother of their children (and because he LOVED her). But He wants his kids to reap the benefits of being in a healthy, happy environment more than anything (and he knows that begins with him and her)

He TRULY wants them to have the happiest, safest upbringing possible and I really love that about him. 🥺 When Marguerite tries to make things about him and her, he redirects that focus on the children. Monet got her a good one, chile!

[shreddeddescent]

sometimes your brother getting bigger is actually a blessing in disguise

[azureblooet]

Ok a concept for the “sif is out” au:

What if Siffrin starts… not remembering, but adjusting?

Every loop Mirabelle speaks up in the corridor to go find the switch, but eventually…

They start stopping before she speaks up.

He starts finding the keys just a little bit faster.

He doesn’t remember but his body starts to. Some part of him starts adjusting with each loop.

“I mean he hardly has a memory to begin with so why would wiping it reset him?”

Or at least that’s what Loop explains it as.

It’s convenient at first, but…

He starts remembering how cold the party has been.

He starts avoiding eye contact with Odile.

They jump at Mirabelle’s voice sometimes.

He starts avoiding the observatory room.

Folding in disagreements faster.

After countless loops everyone notices that Siffrin starts one level higher now.

He’s smiling more. But there’s something wrong about it.

Everyone notices when he smiles at the mirror for the first time.

They just assume it might be a tiny remnant, not much to be concerned about.

They notice that his face stops changing, the smile remains.

Stock still.

Practiced.

Then…

He stops comforting Bonnie after they snap at him one loop.

[ Siffrin got the memory of Something! They shouldn’t remember this.]

[ When equipped The rogue may find things faster! Guess the loops can’t catch everything~]

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[backpackingspace]

Vadar: who can still feel obi wan even if he can't find the bastard: he's alive and we're going to tare the galaxy apart till we find him and crush him like the bug he is am I understand

Cody: general kenobi is dead I killed him myself

Vadar: who can feel that his old master is alive

Vadar: who knows exactly how unkillable obi wan is.

Vadar: who knows for a fact Cody shot once, missed , and declared him dead.

Cody: who is perfectly aware of all of this: I shot him myself. He's dead. I never fail a mission objective

[mispeltnostalgia]

Okay I know Christmas is over but all I can think of is how chaotic it would be if the Batfam participated in the aussie tradition of boxing day cricket in the back yard with the test match in the background

[ping-ski]

pahinga ka na, JJ (CW: VENT POST)

i finally found the courage to write to you, i'm sorry it took so long.

(feel free to ignore the note under the cut)

We weren't perfect, I know that.

I was and still am your crybaby older sibling.  Your “Ate”.

You'd be 18 by now. Isn't that terrible?

Every so often, I dream that you came home that day and that nothing had changed.

I still wish I thanked you for every time you protected or stood up for me, even if it was in vain. We both know that woman never cared.

Honestly, I was angry at first. Angry, you left me behind to survive alone. Angry, that you got an “easy out” and I was stuck with her cruelty. My anger fizzled out pretty quick and for so long I was numb or believed it was my fault for not being able to do the impossible. I couldn't come to an answer that wasn't my fault for not being able to miraculously save you. I don't blame myself much anymore though. I'm meant to be here, even if I don't know the reason.

You'd probably tell me to let it go, but I wish we had played one last game together like you wanted instead of arguing the night before.

You wouldn't know, but that morning I really was working on my apology. I was finding the courage to tell you that I was wrong. And I was. I'm so sorry.

Running away wasn't anything like we imagined as kids. I didn't have a cool plan drawn in crayon. It wasn't even a good one. I had to leave everything behind and never look back.

I'm not sure if you'd recognize me now. I've grown to be more patient and more empathetic. I think holding your cold hands humbled me. Though, you'd be more proud to know I finally have a sense of humor or maybe I stole it from you? Who knows.

I'm trying to live for the both of us, even if it took me 7 years to decide that. I hope you know I still miss you and always will. I hope you miss me too.

[peachviz]

We could have had it all if only the TNG writers knew how to write (like) women

Song: I Will - The Beatles

More on TikTok: peachviz

[sleepyminty]

I think the entire young death mark/shibito casts will breakdown if yashiki ever pulls the ‘i’m not mad im just disappointed’ talk. Cuz if a kind man of both worlds started looking at me like a disappointed father i would evaporated

[residentinsomniacartist]

Thinking about Caleb and how so much of his story ends with him finding meaning in the temporary.

He spent so long chasing a way to bring his parents back, but in the end he had to accept that they were gone. They were temporary. He has his memories of them now, but that’s all. And he has to find peace with that and find a way to remember them fondly, even though they’re gone now, truly and completely.

He and Essek love each other dearly, but there will come a day when he will have lived his life and grown old and Essek will still be Essek. But even so, every moment they spend together is still meaningful. Even if it ends, it means something.

Just. Caleb and loving things even when they won’t last. Maybe because they won’t last.

[susie-dreemurr]

This dialogue makes me suspicious, because remember Toshiko? Or Kai himself? Regardless of how mundane some might be, the whole point was that the“blackmail” Tozu dug up matters to them. And yet, it didn’t bother Cassidy at all.

There’s the implication Cassidy just doesn’t have any skeletons in her closet, but I don’t think that’s true. She just hides them better.

[xbomboi]

apple: briar, remember when we first became best friends?

briar: only when i’m thinking about where my life went wrong.

[resident-sean-expert]

Sean is such an underrated character 😔

[moongothic]

WAIT WAIT WAIT HOLD THE FUCKING PHONE

So normally we only get fullblown, extended and dedicated flashbacks for heroic characters in One Piece, the characters who we're meant to root for. The literal only TRUE exception we've had to this rule was Big Mom's flashback. Even fucking Doflamingo's flashback was tied to Law and Rosinante's

So the fact that we haven't gotten a single fucking GLIMPSE at Crocodile's backstory is?!?

Like sure, we haven't gotten like a Moria flashback, but you know, he literally told us all we needed to know himself, AND we got to see glimpses of him in the Wano flashbacks. Arlong didn't get a flashback of his own, but he did get to cameo in Fisher Tiger's flashback. And Rob Fucking Lucci got a flashback that was 6 whooping panels long

BUT CROCODILE?? Not only do we know almost Fuck All about his story, but also have never gotten as much as a glimpse at it? But his backstory has been HINTED and TEASED at multiple times??

GUYS. FELLAS

Like. I am SURE the "Full Backstories for Heroes Only" rule is going to get broken again, but with Imu and Blackbeard already there just BEGGING to have their beans spilled, can we even be sure Sir Fucking Crocodile is somehow going to become A Villain So Dangerous To The Narrative that he ALSO should also recieve a Full Fucking Backstory?? For his Nefarious Schemes?? AT THIS POINT??

Y'all

I think it's more likely Oda's been saving up Croc's backstory because it might just completely recontextualize his entire character

[piplupcola]

I don't have a lot of confidence in my art, but Roosterteeth and Achievement Hunter was one of the few things back in the day that got me to sit down & draw. I'm still really honored to be one of their guest artist for their 18th anniversary. You weren't always the best Roosterteeth, but thanks for inspiring this shy artist to keep drawing.

[bumblingbabooshka]

I think B'Elanna and Tuvok probably work together a lot in a distant, professional capacity and it's mostly through notes about what will and will not blow the ship up. Constant updates about how not to blow the ship up or otherwise kill everyone aboard which are increasingly and endlessly complicated and if Tuvok weren't Vulcan and B'Elanna weren't built with a mind like a diamond they would both just collapse under the weight of it all and give up but instead they're lowkey kind of enjoying the challenge sometimes. When they aren't collapsing under the weight of it all. They started their messages with B'Elanna being so careful about sounding professional but by year 4 they're not even using honorifics or greetings. They might be employing shorthand. When they get back to the alpha quadrant the admirals are pouring over their notes, maneuvers, quick fixes, and long-term solutions in both horror and fascination. In year two they had to trap an alien slime in the turbolift which is nonsentient and unkillable and it helps the turbolift (which was previously broken beyond repair) run but WILL eat anyone inside that lift if the power coursing through its body reaches a certain level so that particular turbolift has to stay lower-powered and slow. No power can be diverted through that turbolift or anyone who uses it will be eaten. Engineering Win: If we incorporate this alien technology which uses star power instead of solar power which B'Elanna found detailed in an old book during a shore leave thrift sale we can increase the ship's systems' efficiency by over 50%! Security Fail: The star power technology makes people inexplicably think they are a star, their longing for the twinkling void causing them to throw themselves out into space. That's the sort of thing that B'Elanna and Tuvok are dealing with. There's so much that Tuvok brings to B'Elanna like 'this is horrifically dangerous' and B'Elanna replies like 'this is the only way the ship can keep functioning.'