#how are they all younger than me

[diari0deglierrori]

Kyshan just turned 20????? I though se already was D:

[hinamie]

10 years later

[poorly-drawn-mdzs]

Look what we've become.

[First] Prev <–-> Next

[astearisms]

fionna and cake drawings before and after watching the episodes so far. it’s nostalgic and somehow cathartic and poignant and relatable and—it just started

[moonsnqil]

tell me i'm not the only one who regularly has this thought

[puppyeared]

i like him

[gunstellations]

itll be alright

[kacievvbbbb]

You do get the sense that the fallout of Roger's death and the Roger pirates disbanding not so much traumatized Buggy and Shanks indifferent ways but instead generated such drastically different reactions to the trauma.

While the trauma of everything seemed to push Shanks into the future, always constantly waiting for something, putting plans on hold and then later in place, for this great moment, this great coming that he sees on the Horizon. For Buggy it rooted him firmly in the past keeping him trapped in this grief masquerading as anger.

While Roger's death forced Shanks to grow up fast, it kind of arrested Buggy's development keeping him stuck in those same feelings, rooted int that same place.

You get the sense that Buggy's whole east blue schtick is just one long overdue rebellious phase one big fuck you to Roger and his ideals. He's rebelling against Roger's principles. One of their rules was don't steal from innocent people and Buggy was keeping a whole town in poverty. If Roger and Luffy's pirating styles are diametrically opposed to someone like Blackbeard, who might be the most literal pirate in the entire series, then buggy is the parody of that Blackbeard piratism. He is playing up cruelty, being the most piratey pirate possible, hell he's literally a clown on a stage. It's all a show! It's his own special way of trying to "get back at Roger" of trying to discard everything Roger taught him for this overacted, over exaggerated clownish cruelty. Mentally he never left that execution square. He is still 15, alone and scared.

Hell he literally never left either, while I'm pretty sure Shanks' booked it out of the east blue as fast as he could, Buggy never lef, might have never left, if not for Luffy. It's part of why Luffy bothers him so much, he's just like Roger everything that Buggy is trying hard to forget and here comes this kid, whose never even met the Captain but is wearing his hat, shoving it right back in his face.

It makes sense that he never leaves the east blue till Luffy literally forces him out of it (fucking with Luffy gets him captured and imprisoned) and it makes sense that it's Luffy that literally breaks him out of prison, literally sets him free, and on the path to greatness that maybe he was always meant to achieve (even if he trips his way into it). This boy that is tragically so much like his old captain but so beautifully unabashedly himself, is what Buggy needs to start letting go off the past, to start trying to move forward.

Maybe that's why Buggy, at what could arguably be described as his lowest moment, gets the strength to free himself from his own self imprisonment, realizing that even back then he was locking himself away and pinning his own dreams on Shanks. And, maybe for the first time ever, Buggy really own his dream. He declares to his tormentors and his crew and the entire world that; actually He wants to find the one piece, him, as captain of his own crew, this crew, not just a part of someone else's. That's his dream and he's willing to turn the world upside down to do it.

[genericpuff]

hello 911 why are all the LO volumes classified as grades 6-12 except for the newest volume which is more appropriately categorized as grades 9-12

please no

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[paradimeart]

prowl has 0 idea what goes on in protoform development these days

(V.S. = vector sigma)

[goldensunset]

‘the children yearn for the mines’ is a little too real to me bc when i was a kid and my older siblings were trying to get me into pokémon i really never cared to try playing. BUT. i was obsessed with the underground mining minigame in dppt. i used to beg my sister to let me take a turn playing and set it up for me bc i didn’t know how to so i could go mine for gems nonstop until i cleared that entire cave section of glittering wall spots which always made me so sad bc i was having such a great time. i didn’t even understand the significance of what i was doing but 7 year old me was high off of it

[djarinova]

╰─▸ ❝ jean kirstein ❞ ˋ*ੈ*⁀➷

content - dad jean, shy jean, cheating, divorce, jean has an ex wife, x f reader

I watched a movie last night and now all I can think about is single dad!jean who is just getting over his messy divorce. he's got a wonderful daughter who means the world to him, and he does everything he can to keep her safe and happy, and even though it's hard for him, he still makes sure she sees her mother as regularly as possible—even though it causes him massive amounts of pain to see how happy and carefree his ex wife is with her new partner.

best friend connie who keeps begging jean to go out to a bar for a couple drinks with him. he asks every single friday (and saturday), and jean is always adamant that he's just not ready to get back out there and start dating. but one night he finally caves and says yes, his daughter is spending the night with her mother and he doesn't want to sit alone is his small, despressingly bare apartment by himself. so he dresses up as best he can and meets connie for a drink. and that's where he meets you for the first time.

you catch his eye as soon as you walk in the room, and he's not the only one who's watching you. he sees a couple of dudes try and buy you a drink, and you shoot them down before they've even had a chance to introduce themselves. connie catches jean staring and practically drags him towards you, pushing jean into the chair opposite you and leaving as soon as he's introduced jean to you.

jean completely fumbles the interaction, he tries to use numerous pick up lines on you—all which fail—and his compliments are completely over the top and it's clear he has no idea what he's doing. you try to excuse yourself, but he practically begs you not to leave. upon realising what a terrible flirter he is jean decides to tell the truth about his situation, rather than pretend to be a flirt and a ladies man. he tells you it's his first time trying to pick up someone in a bar, and that he's never been any good at flirting. he tells you all about his messy divorce, and how he was cheated on and that it basically wrecked his entire life—the only positive from his marriage being that he has the most amazing daughter in the world. he tells you that he hasn't been on any kind of first date since he was 15 and that he has absolutely no idea how to approach a woman as beautiful as you.

you think his honesty is sweet, and that he's a much easier guy to talk to than anyone else in this stupid bar, so you ask him to take you home. he's embarrassed to take you to his apartment but you aren't paying the rooms or decor any notice. as soon as you get past the door your lips are attached to his neck, and you find out that although he cannot flirt for the life of him, he is an amazing kisser, and probably the most giving guy you've ever been with.

you leave the next morning, and he promises to call you. his heart hasn't felt as light as this since...he can't even remember. he thinks about you for days, but is so nervous to call you. all he can manage is sending a short text to you, saying [hi! hope you're doing well, thanks for the great night. I would love to see you again.] you smile when you receive it, but your job is so demanding that you don't get the chance to reply for a while and the text completely slips your mind as you prep for an important night of meetings.

jean doesn't feel good about how long it's been since he texted you, and he wants to see you again. soon. so he decides to call you after his daughter's parents teacher conference. he sits with his ex wife, awaiting their turn, outside of the classroom door. but when the teacher calls out to let them know that they can enter the classroom, he walks in and is met with the sight of you, standing behind the desk, arm extended ready to shake hands with the parents you'd just called in.

the woman he'd hooked up with from the bar was his daughter's teacher?

you sit in front of jean, utterly humiliated at the situation, and you watch as his face reddens when his ex wife notices the tension and begins to ask if the two of you had met before. you speak before jean can, and assure her that you've never met before, and that you're just feeling overwhelmed from all the parents you've met today. she seems to believe it, but when jean catches your eye and smiles uncharacteristically shyly, she feels a bubble of jealousy rise in her chest.

luckily the meeting goes without a hitch after that, their daughter is doing perfectly well in class, all she needs to do is try to participate in class discussions a bit more.

jean and his ex wife were your last meeting of the evening, and you watch as he hastily bids farewell to his ex, stumbling over his words and looking around nervously. you smile when he hangs around in the doorway after she's left, seemingly trying to find the courage to come and say something to you.

you finish collecting your things and walk towards jean, who's now pacing back and forth in the corridor. he jumps when he sees you, but smiles warmly at your presence. before you have the chance to say anything about how awkward that meeting was, words are tumbling from jeans mouth:

"im so sorry I haven't called you yet, I had absolutely no idea what to say to you and I didn't want to say the wrong thing and scare you off. which I now realise is stupid because you wouldn't have asked me to take you home if you didn't at least like me a little bit but I didn't want to come on too strong and—"

"jean, it's okay. just ask me to dinner."

"yeah? okay. will you have dinner with me...tomorrow?"

"yes, I'd love to have dinner with you."

the two of you walk out to the car park together, and jean opens your car door for you. he bids you goodbye, and tells you how much he's looking forward to dinner tomorrow. and you smile, a warm feeling blossoming in your chest as you reply that you can't wait to see him again.

tagging: @cowgirlikets (tysm for asking to be tagged !! love to u)

[stickyvoidpaper]

hc that Tim has a false sleep disorder diagnosis from when he was younger because he refused to tell his parents he was awake for most of the night.

[foreverfearlessred]

just read Logan’s statement