#have an OPEN MIND

[kinxrd]

Not about anything specifically but I'm begging people to understand that changing a character's past actions due to newly discovered information is like,,,, a totally ok thing to do. You can reevaluate why someone did something with a new context, do you know that. Its important to me that you know that.

(Yes this is about Tommy btw)

Was Tommy being gay and having some fucked-up father-figure relationship with Gerard ever planned in s2? No, not even close. Does the knowledge of him being in the closet now change how we see his behaviour from s2? Yes, yes it does !!

And that's not a bad thing. Saying "hey, maybe this one-dimensional asshole character was more complex than we thought, and now he has reasons for being the way he is," is ok to say !! It is !! You don't have to live in the past pookie I need you to be ok with retcons and unintentional expansion of characters, please.

You don't even have to LIKE it, just understand that those motivations/dynamics have indeed changed its not that hard

[foe-of-fate]

I feel so bad for people who say they hate vegan food 😔 Imagine hating French fries? Or fruit smoothies? Or pasta? Or peanut butter? Or—

[absenceisaformofwinter]

"The will to change belongs to intelligent people. The unconscious governs our lives, and the unconscious is shaped by our beliefs, many of which are false, even though we present them as true. Having an attitude of openness towards everything puts us in a better position to continue growing."

Keynes: "The most difficult thing in the world is not for people to accept new ideas, but to forget the old ones."

Goethe: "Beware of what you learn, for you cannot unsee it. Being open to 'unlearning' is absolutely essential for true learning to take place. Often, what we think we know is what actually prevents us from learning."

Bertrand A. W. Russell, British philosopher, mathematician, logician, and writer, Nobel Prize in Literature.

[egophiliac]

buckle up lads we're going BACK INTO THE BOOK

[shrews-art]

Ever here that's left in me is yours just as it was

[shellem15]

Can I just say, I really appreciate how Critical Role plays the Devil trope straight. There's been this phenomena in a lot of modern media (I'm not going to mention specifics but I'm sure a few examples pop up in people's minds) where Hell and the Devil aren't scary or malevolent forces. Hell is portrayed as being basically the same as our world just "edgier", and the Devil is a pretty decent guy actually. Heaven are secretly the real bad guys!

But Critical Role doesn't do that. In Exandria, Asmodeus *feels* like the Devil. He's malevolent and manipulative and terrifyingly powerful and he hates you, personally. We never see that type of portrayal anymore! And it's amazing! And he still manages to be sympathetic and tragic without losing his edge!

And the "Good Gods" are portrayed as flawed without being secretly evil or something! Like, actual nuance? In my Heaven/Hell dichotomy? What!?

It's just such a breath of fresh air after so many "The Devil was right, actually" stories. So props to Matt and Brennan and the cast.

[cracklewink]

Harmony Syndrome Part 5/5

The last chapter of my mlp infection AU! Thank you to everyone who followed along. Some final thoughts on my twitter @cracklewink if anyone's interested : )

[poorly-drawn-mdzs]

Ooh, you want to know what happens at the gay bar run by ex-pirates, ooh...You'll just have to read Tiger Tiger to find out...

(Inspired by this Disco Elysium comic)

[youchangedmedestiel]

Imo the best ending to Supernatural would have been to just stop with them alive on a random hunt or them finding jobs and living the life they just wanted or whatever.

And then the story just fucking STOP, because Chuck is not here anymore, so they are no longer part of a story they are finally free. And we could still write and read fanfic about how they live after they won.

[tiffanyachings]

Matching T-Shirts for You and Your Weirdly Codependent Cousin

based on this excellent post by @casgirl

[fonthoura]

Hc where Garak knows Julian is a liar, but he can't, for the life of him, know what he's lying about.

Like, he has this feeling, given to him by years of training and an observant eyes, that Julian is very purposefully unauthentic, and it seems that no one else notices.

He sees how Julian talks a lot and overshares, but never really says anything, to the point where his friends would have a hard time answering any question about him, like, for fucks sake, it took reading his file to get to know his date of birth because no one knew.

Jadzia thinks he has a brother, Miles is convinced he has a sister, and Garak is fairly sure he is an only child, the problem is, Julian doesn't talk about it. He talks too much and hardly says anything.

Garak also notices how he is always tense, as if holding back, like when he lets himself be punched when he clearly sees it coming, when he let's things break even though Garak is sure he could've caught them mid air, how he seems to calculate the perfect amount of clumsy in a day (once he even bumped into Garak and pretended to be distracted) and no one notices.

But Garak does, Garak knows he is lying about something, he feels it, specially when he looses on games and arguments, like he could not think of something else but Garak sees it in his eyes that he is hiding something.

And Garak constantly gets worried, despite his best knowledge, about him.

He knows how lonely it is, to keep yourself hidden from the world, to not let anyone know you, to hold the weight of a thousand secrets on his body, and constantly he sees this weight taking it's toll on the doctor.

Julian keeps people at arms length, he gets close on condition, he larps with Miles, discuss literature with Garak and converses with Jadzia, but keeps them all compartmentalized, always distant, even his crush on Jadzia being shallow, no real depth to it.

Julian seems skin deep and Garak knows how it feels and aches for him.

So he constantly tries to scratch the surface, aways tries to get Julian out of his lie made shell like Julian does to him, and he doesn't succeed, but he keeps trying.

Specially after he finds out that Julian had been gone for a month and not even him noticed it, he knows it's because no one would, because Julian keeps so much of himself hidden that you can't distinguish him from a fake.

And then, doctor Zimmermann shows up...

[lucabyte]

i feel like people are sleeping on the occam's razor situation of how buckwild it is to outright accuse a guy of being a clone of your friend even if you DO have a lot of circumstantial evidence. there's other options is what im saying. they could just be like. a guy. that's a sensible deduction. you should explore that deduction. ignore my shirt that reads I <3 RED HERRINGS.

i still think odile has the correct theory on lock but she's smart enough to know it needs like... a real smoking gun to be able to bring it up without sounding insane.

anyway. (mirabelle voice) i know its rude to speculate but has anyone else noticed the grieving? they seem to be grieving. does anyone have any thoughts on the grieving? i have some thoughts on the grieving.

[skateboardtotheheart]

there is just something about the difference between edwin's love interests and having the cat king's reaction to edwin in hell being "i'll be waiting when he gets back" vs charles "no version of this where i don't come get you" rowland convincing a powerful trans-dimensional being to open a door to hell just so he could get him back

i am insane

[dangerdazee]

i'd like to add, as a less significant point but one that people still tend to bring up as an objection to henry in DF, his style change makes total sense.

he dressed mostly the same from age 13-18 in HD, which in itself is fairly unrealistic. it's more than logical that he would change his style after leaving home and moving to a place/culture entirely different than the one he grew up in.

he's grown up, he's on his own, he's been through a lot, and he lives in a completely different place.

the drastic change in his style makes sense and that's a hill i'm willing to die on!

people often say that it makes no sense how henry's changed in danger force, but imo i think it makes somewhat perfect sense (only somewhat because the writing in danger force is kinda all over the place most times lmao).

like henry is no longer this starry-eyed kid who thought superheroes were the coolest, strongest, snd bravest people ever. he's been there, done that, and it wasn't glamorous in the slightest.

swellview's greatest hero turned out to be an irresponsible, self-absorbed, man child (affectionate). he's almost died several times and has been injured just as much (and a lot of times, not even in villain fights, but at the man cave/junk n stuff). he even lost sight of who he truly was because he dedicated so much time to being a hero.

growing up with/through that and then going on to try and be a hero in dystopia? i absolutely think it makes sense that he'd become jaded and even more unlike the henry hart we knew throughout henry danger.

like yeah, the writing of HDF isn't the best all the times, but these little character development details they have is what hooked me into the show in the first place (besides it being genuinely enjoyable lmao).

[always-a-king-or-queen]

The ache will go away, eventually. 

That was what the Professor told them, the day they got back. When they tumbled from the wardrobe in a heap of tangled limbs, and found that the world had been torn from under their feet with all the kindness of a serpent. 

They picked themselves off of the floorboards with smiles plastered on child faces, and sat with the Professor in his study drinking cup after cup of tea. 

But the smiles were fake. The tea was like ash on their tongues. And when they went to bed that night, none of them could sleep in beds that were too foreign, in bodies that had not been their own for years. Instead they grouped into one room and sat on the floor and whispered, late into the night. 

When morning came, Mrs. Macready discovered the four of them asleep in Peter and Edmund’s bedroom, tangled in a heap of pillows and blankets with their arms looped across one another. They woke a few moments after her entry and seemed confused, lost even, staring around the room with pale faces, eyes raking over each framed painting on the wall and across every bit of furniture as if it was foreign to them. “Come to breakfast,” Mrs. Macready said as she turned to go, but inside she wondered. 

For the children’s faces had held the same sadness that she saw sometimes in the Professor’s. A yearning, a shock, a numbness, as if their very hearts had been ripped from their chests.

At breakfast Lucy sat huddled between her brothers, wrapped in a shawl that was much too big for her as she warmed her hands around a mug of hot chocolate. Edmund fidgeted in his seat and kept reaching up to his hair as if to feel for something that was no longer there. Susan pushed her food idly around on her plate with her fork and hummed a strange melody under her breath. And Peter folded his hands beneath his chin and stared at the wall with eyes that seemed much too old for his face. 

It chilled Mrs. Macready to see their silence, their strangeness, when only yesterday they had been running all over the house, pounding through the halls, shouting and laughing in the bedrooms. It was as if something, something terrible and mysterious and lengthy, had occurred yesterday, but surely that could not be. 

She remarked upon it to the Professor, but he only smiled sadly at her and shook his head. “They’ll be all right,” he said, but she wasn’t so sure. 

They seemed so lost. 

Lucy disappeared into one of the rooms later that day, a room that Mrs. Macready knew was bare save for an old wardrobe of the professor’s. She couldn’t imagine what the child would want to go in there for, but children were strange and perhaps she was just playing some game. When Lucy came out again a few minutes later, sobbing and stumbling back down the hall with her hair askew, Mrs. Macready tried to console her, but Lucy found no comfort in her arms. “It wasn’t there,” she kept saying, inconsolable, and wouldn’t stop crying until her siblings came and gathered her in their arms and said in soothing voices, “Perhaps we’ll go back someday, Lu.” 

Go back where, Mrs. Macready wondered? She stepped into the room Lucy had been in later on in the evening and looked around, but there was nothing but dust and an empty space where coats used to hang in the wardrobe. The children must have taken them recently and forgotten to return them, not that it really mattered. They were so old and musty and the Professor had probably forgotten them long ago. But what could have made the child cry so? Try as she might, Mrs. Macready could find no answer, and she left the room dissatisfied and covered in dust. 

Lucy and Edmund and Peter and Susan took tea in the Professor’s room again that night, and the next, and the next, and the next. They slept in Peter and Edmund’s room, then Susan and Lucy’s, then Peter and Edmund’s again and so on, swapping every night till Mrs. Macready wondered how they could possibly get any sleep. The floor couldn’t be comfortable, but it was where she found them, morning after morning. 

Each morning they looked sadder than before, and breakfast was silent. Each afternoon Lucy went into the room with the wardrobe, carrying a little lion figurine Edmund had carved her, and came out crying a little while later. And then one day she didn’t, and went wandering in the woods and fields around the Professor’s house instead. She came back with grassy fingers and a scratch on one cheek and a crown of flowers on her head, but she seemed content. Happy, even. Mrs. Macready heard her singing to herself in a language she’d never heard before as Lucy skipped past her in the hall, leaving flower petals on the floor in her wake. Mrs. Macready couldn’t bring herself to tell the child to pick them up, and instead just left them where they were. 

More days and nights went by. One day it was Peter who went into the room with the wardrobe, bringing with him an old cloak of the Professor’s, and he was gone for quite a while. Thirty or forty minutes, Mrs. Macready would guess. When he came out, his shoulders were straighter and his chin lifted higher, but tears were dried upon his cheeks and his eyes were frightening. Noble and fierce, like the eyes of a king. The cloak still hung about his shoulders and made him seem almost like an adult. 

Peter never went into the wardrobe room again, but Susan did, a few weeks later. She took a dried flower crown inside with her and sat in there at least an hour, and when she came out her hair was so elaborately braided that Mrs. Macready wondered where on earth she had learned it. The flower crown was perched atop her head as she went back down the hall, and she walked so gracefully that she seemed to be floating on the air itself. In spite of her red eyes, she smiled, and seemed content to wander the mansion afterwards, reading or sketching or making delicate jewelry out of little pebbles and dried flowers Lucy brought her from the woods. 

More weeks went by. The children still took tea in the Professor’s study on occasion, but not as often as before. Lucy now went on her daily walks outdoors, and sometimes Peter or Susan, or both of them at once, accompanied her. Edmund stayed upstairs for the most part, reading or writing, keeping quiet and looking paler and sadder by the day. 

Finally he, too, went into the wardrobe room. 

He stayed for hours, hours upon hours. He took nothing in save for a wooden sword he had carved from a stick Lucy brought him from outside, and he didn’t come out again. The shadows lengthened across the hall and the sun sank lower in the sky and finally Mrs. Macready made herself speak quietly to Peter as the boy came out of the Professor’s study. “Your brother has been gone for hours,” she told him crisply, but she was privately alarmed, because Peter’s face shifted into panic and he disappeared upstairs without a word. 

Mrs. Macready followed him silently after around thirty minutes and pressed an ear to the door of the wardrobe room. Voices drifted from beyond. Edmund’s and Peter’s, yes, but she could also hear the soft tones of Lucy and Susan. 

“Why did he send us back?” Edmund was saying. It sounded as if he had been crying.  

Mrs. Macready couldn’t catch the answer, but when the siblings trickled out of the room an hour later, Edmund’s wooden sword was missing, and the flower crown Susan had been wearing lately was gone, and Peter no longer had his old cloak, and Lucy wasn’t carrying her lion figurine, and the four of them had clasped hands and sad, but smiling, faces. 

Mrs. Macready slipped into the room once they were gone and opened the wardrobe, and there at the bottom were the sword and the crown and the cloak and the lion. An offering of sorts, almost, or perhaps just items left there for future use, for whenever they next went into the wardrobe room.  

But they never did, and one day they were gone for good, off home, and the mansion was silent again. And it had been a long time since that morning that Mrs. Macready had found them all piled together in one bedroom, but ever since then they hadn’t quite been children, and she wanted to know why.

She climbed the steps again to the floor of the house where the old wardrobe was, and then went into the room and crossed the floor to the opposite wall. 

When she pulled the wardrobe door open, the four items the Pevensie children had left inside of it were missing. 

And just for a moment, it seemed to her that a cool gust of air brushed her face, coming from the darkness beyond where the missing coats used to hang.

[wistfulwatcher]

EMILY & HOTCH DANCING in 7.24 RUN