#he's babygirl i hope he is happy

[florestxiv]

Astel 🌠🌠🌠

[rivsisnotonfire]

MIKEY WAY APPRECIATION BECAUSE HES TEN YEARS SOBER TODAY!!!!!

[arson-09]

Man, Rhysand was never the dreamer in that god awful series. It was always Tamlin

Tamlin is the one who has always done everything he can do to stop injustice. Protecting mortals, always accepting fae from other court in his land, trying his damnedest to find a way to break the curse instead of stealing a mortal. He has always dreamed of a safer and more just world and has always tried to make that come true. Even after loosing so much he always did whats right and true in the end.

but hes doomed by the narrative. His good deeds and genuine soul over shadowed by the biases of the narrator. Hes the age old tragedy of wanting to be the best he can and do the best he can.

[stash-of-furbies]

#SPAMTOBER Days 12 and 13: 💶💸 Big Shot and The Phone!! ☎️📞

Catching up on lost time by combining the two themes into one

Also the stock image I used for reference for this was so perfect! I’ve been wanting to use it for a Spamton drawing for a good while lol

He’s so sillyyyy

Look at the little guy kicking his feet he’s so adorable I hope nothing bad happens to him 😀

[lycanlovebites]

You know what? Fuck you *hits Father Ardelian with the shoujo filter and babygirlifies your priest*

@stjohnstarling

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[zzcrypticcoyotezz]

IAN MALCOLM IS CONFIRMED TO BE RETURNING IN JURASSIC WORLD 4

to be honest i feel a little relieved, but god i hope it's not for a short little cameo like in fallen kingdom. i hope he has more of a role. especially with how he's going to take biosyn down, with the ending of dominion (and what's happening in chaos theory) there's so many possibilities of what could happen, so the plot of "some teens and adults get stuck on an island with dinosaurs" is just..... ehhhhhhhhhh???? why??? why do we need a whole new cast? and another movie about people stuck on an island? i'm so attached to everyone, and i'm gonna be so pissed if they never come back. i think the plot is extremely vague on purpose, there has to be more to it.

listen, i might be extremely hopeful, it might be unlikely... but maybe... maybe the side plot will be about ian. i could see him trying to discreetly help the new gang somehow, without getting his hands too dirty. he's sneaky like that. with how vague the plot is, we have no idea why or how they even got on a new island with dinosaurs, or if it might be isla sorna, we don't know what company is behind it, could even be an entirely new one. maybe one of the new cast members is a journalist secretly helping ian.

yes it's almost 5 am and i'm kinda stoned but i just read a brand new article confirming his return and i need to talk about it or i'm going to explode. ALSO, sadly there are still no official teasers yet. hopefully we'll get one by the end of the summer or maybe in the fall, considering the release date is just next year.

honestly i have absolutely no idea what to expect with the upcoming movie and it's worrying given how secretive the production has been, and how soon the release date is. there's still no official teasers and we don't even know the title yet. i really hope this isn't going to be a letdown, because dominion is honestly my favorite jurassic world so far and i don't want them to throw all of that away.

[call-m3-ari]

//bright image

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Now that I'm not part of the madness.

[akkivee]

ufotable’s got my trust in depicting the action and scale of orv but if they don’t draw the protag with this much 💲lutty energy then what’s the point

[7-7-cherry]

Happy birthday Dice!!!!!! <3 <3 <3

[phantastragoria]

Today is Peter Quill's birthday 🫶🌟 It's hard celebrating while you're roughing it out in the unexplored frontier, but we'll make do with what we've got on hand.

[trappper-johnathan]

Must we pit two bad bitches against each other?? [og post]

[coffeeandcalligraphy]

You knew my mother was here | Moth Work

Lonan has stopped paddling. The canoe sits in the middle of the lake, lifeless like a bone in the water. He’s turned so Harrison sees him in profile and can’t tell if it’s relieving or worrying to see his face. Lonan’s jaw is taut, like there are words he wants to say but can’t. Filling up the hollow bone. He blinks slowly, like he’s trying to re-centre himself, his chest quivering with breaths meant to steady him. The water laps at the base of the canoe, whirling like his head. Dark hair tangles down his cheeks like the fingers of a poltergeist.

“You knew my mother was here,” Lonan says.

“Yes.”

“How?”

“Research.”

LONAN PORTRAIT TO GRACE (HAUNT?) YOUR DASH!! <3

Excerpt circa 2019.

[bellarkeandclintashaandsuch]

If Laws of Attraction doesn't want me to sympathize with Tanthai, they should stop making him say things that make me think he's suicidal. And stop having his bodyguard look at him Like That.

The sad way he looked up at Methee when he came in to tend Tanthai's cut lip was a choice.

The way he called himself the worst and talked about feeling nothing at killing a child shows just how messed up he is. He just felt empty? A child is dead, and he doesn't feel anything?! And all Methee could do was warn him that yelling will only draw his father's wrath again. Even in his own room Tanthai has to control himself to avoid his father's anger.

And then he says maybe he should die. After all, he should never have been born, right? And how sad Methee looks to hear that. But not surprised. Because even if he hasn't said it before, I'm sure Methee has witnessed all of his self-destructive behavior.

Methee came into the room telling Tanthai to apply the ointment, not to let him apply the ointment for Tanthai. But to make him stop saying such terrible things, he can only grab Tanthai's face and start tending the wound. I don't even know what the look on Tanthai's face says, but it says a lot.

Then he gets drunk and starts talking about dying again.

Only for Methee to pop up at that particular moment to bring him home.

And he just carts him away when he refuses! He just picked Tanthai up and hauled him away. Tanthai had a whole beverage in his hand that probably poured over Methee, but Methee didn't care.

And they expect me to be normal about this? I'm over here making up scenarios about how Tanthai can be innocent, so he and Methee can get married and run away together. Ah, maybe dad was driving, and made Tanthai come take his place. How could they have managed that without anyone noticing? Heck if I know. But where was Methee? Why wouldn't he be with Tanthai to keep him from driving drunk? Why didn't the senator let Charn talk to Tanthai? Why did Tanthai say there was more to this than Charn knew? Seems dumb if the things he didn't know only make things worse for him. Where's Jinta or the Mystery Globe Fixer to give Tanthai a chance to make things right?

[phoenixtakaramono]

The Boys, choose violence 10, 22, 24 if you please. :D

From the 🔥Choose Violence Ask Game🔥

Thank you, @kosmochlor, for the Ask! Ahh, and I see we’re going straight for the jugular!! 🔪(⊙v⊙✿) These are just a few personal honest opinions written at 1:40AM. What I think does not apply to everyone. ♥️

10. worst part of fanon

Keyboard warriors. The morality police clutching their pearls. You know who I’m referring to; we always have them in every fandom. The ones who police who/ what you like and are obnoxiously loud about it and about how the characters or ships you find interesting are problematic and, lookie here, my [insert character they’d fixated on] never did anything wrong compared to your rancid skrunkly blorbo and I wish more fans liked my favorite character than [insert popularly liked character]. On the converse of that, I’m on two fences when it comes to Homelander stans. Thankfully most people are rational and like him because he’s an interesting villain (and, let’s be real, it’s powered by a side of fan thirst for the actor who plays him; it’s the typical parasocial relationship that fans develop with the celebs who play our favs/ or it’s just plain interest in the fictional character itself or the fun thought of that fictional fav being railed or doing the railing)—but I do have to raise an eyebrow when he is being stanned for all the wrong reasons (coughfascistallegorycough coughMAGAallegorycough coughSigmamalecough).

It’s a very interesting outlook to have as someone who isn’t as into Homelander as other people but still goes out of my way to read and write stories of him being shipped with his enemy Billy Butcher (listen, I’m your average law-abiding 28 y/o woman who works M-Sat 9AM-5:30PM and sometimes even Sundays and even overtime; sometimes on my limited free time I just wanna indulge and imagine about what it’d take to save the metaphorical world in this fictional universe—aka by having the two toxic old men f*ck each other and they can be two co-dependent psychos in love terrorizing the world together as a shameless power couple in a perpetual Ouroboros cycle of love and hate and self-punishment; obviously I do not condone this kind of relationship irl but within the safety of my imagination, we writers be playing god. It’s fairly obvious both characters are fated to have a bad ending in the show, especially if they follow in the footsteps of comic canon for a bittersweet ending, so let me have fun on my very limited free time writing my alternative Butchlander takes about these manipulative assh0les obsessing over each other and the fate of the world depending on how successful they are at gaslighting each other into playing a permanent happy couple).

22. your favorite part of canon that everyone else ignores

Homelander is canonically bi in the comics. No, I’m serious.

(Spoiler alert: for those without context, in the comics, Soldier Boy was not Homelander’s father. In the comics, male Stormfront was one of the Supes whose DNA was reused by Vought to create new and stronger versions of the source material, so his DNA resulted in baby!HL’s creation no, comic HL did not f*ck male Stormfront; in a way, HL is kinda a partial clone of comic!SF. Whereas in the show, Soldier Boy was changed to be a super straight (?) alpha male granny f*cker who was later revealed in the season to be the sperm donor for Homelander. And Stormfront, as we know, was genderswapped in the show and changed to be Homelander’s girlfriend in S3. …There’s no confirmed Sweet Home Alabama vibes yet as of 2023 but there is understandably fan speculation for a reason.)

I believe the best way to put it: Homelander is generally attracted to women, but in later issues he reveals that he has a secret liking to men. Because he’s The Homelander; he can do whatever the f*ck he wants.

And let’s not forget this beautiful iconic scene the TV adaptation gifted to us:

Now some personal opinion time: I also like the idea of him being a narcissist so he only truly loves himself. And others can come close (especially if he sees aspects of himself in them) but his One True Love will always be himself. It’s the classic Narcissus looking at his mirror reflection allegory—but now you mix it in with some complicated cocktail of a God complex, inferiority complex, imposter syndrome, self-hatred, and sociopathy or psychopathy and a hidden desire of wanting to fit in with the banal societal human norms of being accepted but always feeling left out on the other side of the glass wall looking in. Now you tie it in with him never finding anyone who’s “genuinely loved him” (by his own criteria) and has not regarded him as a monster to be feared. He’s desperate for that human connection, for that elusive “perfect companion” who will understand him and cater to him and put his needs above their own—and to him, finding that proves he’s not a freak of nature. He’s not a monster. He’s not a failed product. He’s not a pathetic excuse of a man that even Soldier Boy didn’t even want as a son. Vogelbaum—and everyone else just doesn’t understand. People love him, right? Vought and Madelyn have indoctrinated him into believing he’s the people’s hero—and how they adore and worship him and want to be him or want to f*ck him. How can he, The Homelander, a superior being with his perfect genetics who’s better, stronger, smarter and more attractive than anyone else (I hope you can tell I’m being heavily sarcastic here), go out on a limb and fail at finding this one intangible thing that ordinary mudpeople or his inferiors can find but he somehow can’t?

24. topic that brings up the most rancid discourse

It’s almost always political discourse particularly from extremely delusional right-wingers people who have terrible media literacy of what they’re watching versus what might be clear-cut to the rest of us—and discourse of whether or not The Boys (TV) is an objectively good show. All of these tend to go hand-in-hand together. I think what those people fail to realize is: the script is written by Eric Kripke, the showrunner behind the first five seasons of Supernatural—and then you have Stephen Fleet, lead VFX supervisor and show producer, who came out at the age of 43 (🏳️‍🌈). They’re adapting it from an edgy, dark, intentionally offensive-just-for-shock-value comic series written by Garth Ennis, the person behind Preacher and even a bit of the Punisher. The eight-volume comic series, which ran from 2006-2012, is full of racist, sexist, misogynistic, and homophobic elements (to be fair, GE wrote this as an intentionally darker satirical take on the superhero culture—and edgy shock factor is a writer’s strategy to make your work stand out). It was meant as a “dark, satirical commentary about the fictional superheroes—and, to an extent, the real life celebrities—we idolize, and how easily people with such power can abuse their responsibility” (source).

With what the TV showrunners had to work with, with the actual source material being a slog kinda to go through (the comics does have its share of good moments admittedly), as a whole I think it’s pretty impressive they’re able to update things to make modern social commentary which are relevant to us today (now, they can be admittedly a bit on the nose about it; one thing that stuck with me till now is how a writer friend I was watching the show with remarked how they’d thought BnHA did the superhero genre commentary much better) and somehow they were able to make a far superior TV adaptation just by paring down and changing a few things from the comics for the better so far (*knocks on wood 3x*). I will however always side-eye anyone who insist the comics is superior than the TV adaptation and loudly proclaim they won’t watch the show because “look how they massacred [insert comic character]” (now, to be fair, normally I would agree with this take but we’ve established The Boys (TV) is a special case; I would also understand if the comics had been the person’s first exposure and, hence, had become their fixation—but considering its intentionally offensive contents I am quietly side-eyeing them from the sidelines and keeping my mouth shut).

[wqxianvents]

// spoilers(?) to the new event ,, its just screenshots of the story aint rlly crazyy

bro this event is so poly!nxx coded im on my knees sobbing like theyre so domestic to eachother n THE OG CHARACTERS MAKING AN APPEARANCE HAVING ME GEN CRYING 😭😭😭

like when huey appeared PLSS “HUEY!!!” same. thats my son. they need more events where domestic nxx appears thank you theyre all dating idc

like not them fighting… i was gonna get annoyed if it was the typical banter LMFAOO also artem being passive aggressive 😭😭

but to my delight ✨ EVEN LUKE WASNT GETTING INTO IT THIS TIME LMAOO,, also doesnt luke feel a little softer in this event? hes so cute like :,) he just feels more relaxed idk how to explain it, they all do tbh!! but luke hasnt rlly been bantering and if he does its with marius (not out of the ordinary fr) SOMETHING IS JUST DIFFERENT. i’m lovin it rho

i have so many ss’ of this event and whew boy… the amount of times ive been screaming poly nxx is smth, hyv loves me and said its canon (believe it)

like they all feel so lively in this one and arent arguing like they always do so its a nice change of pace <33

sorry for long tags LMAOO just love them so much *grabs the nxx team and runs away*

edit: the event i was talkin abt in tags was dreams of childhood LMAOO that one and 2nd anni are a top fave for me neow 😌‼️💞