#i am so so so sorry for length

[celebritied]

(  bruna marquezine.  cis woman.  she/her.  )  look, ines sampaio  was  just  spotted  along  the  walk  of  fame.  the  twenty - eight  year  old screenwriter  can  be  quite paradoxical  towards  paparazzi,  but  fans  swear  they’re mesmeric.  that’s  why  they’ve  been  dubbed pandora's box  by  the  trades.  they  better  keep  their good  reputation  in  check,  because  once  the  hollywood  hunter  learns  ██████████,  they’ll be  forced  to  spill  their  guts.  

              𝐚𝐞𝐬𝐭𝐡𝐞𝐭𝐢𝐜𝐬 ...

a never-ending pile of creased leather notebooks, always having a full answering machine, a smile that promises you're about to be let in on a secret, the smell of incense burning, laughter from the other side of the room at a party, receipts and napkins with indecipherable scribbles, the false intimacy of candlelight, a mind that ticks endlessly like a clock, a collection of matches from all around the world, the way perfume lingers on clothes, the first sip of coffee at midnight when there's a long road ahead, a kind of confidence that inspires devotion, the inherent romanticism of handwritten letters, curiosity that borders on obsession, the crackle of an old record player, curing all ails with sunshine and saltwater, turning conversations into scripts even when you don't mean to, the cool touch of silk bedsheets, tortoiseshell framed glasses, a penchant for secrecy, imported cigarettes at the bottom of an expensive purse.

              𝐬𝐭𝐚𝐭𝐢𝐬𝐭𝐢𝐜𝐬 …

𝐟𝐮𝐥𝐥 𝐧𝐚𝐦𝐞.  ines sampaio.  𝐧𝐢𝐜𝐤𝐧𝐚𝐦𝐞𝐬.  pandora’s box, as dubbed by the trades.  𝐝𝐚𝐭𝐞 𝐨𝐟 𝐛𝐢𝐫𝐭𝐡 & 𝐚𝐠𝐞.  january 4th & twenty-eight.  𝐳𝐨𝐝𝐢𝐚𝐜. capricorn sun, scorpio moon. 𝐠𝐞𝐧𝐝𝐞𝐫 & 𝐩𝐫𝐨𝐧𝐨𝐮𝐧𝐬.  cis woman & she/her .  𝐨𝐫𝐢𝐞𝐧𝐭𝐚𝐭𝐢𝐨𝐧.  bisexual.  𝐩𝐥𝐚𝐜𝐞 𝐨𝐟 𝐛𝐢𝐫𝐭𝐡.  rio de janeiro, brazil.  𝐞𝐭𝐡𝐧𝐢𝐜𝐢𝐭𝐲.  brazilian.  𝐜𝐮𝐫𝐫𝐞𝐧𝐭 𝐫𝐞𝐬𝐢𝐝𝐞𝐧𝐜𝐞.  los angeles, california.  𝐨𝐜𝐜𝐮𝐩𝐚𝐭𝐢𝐨𝐧.  screenwriter. click here for more !

               𝐚𝐛𝐨𝐮𝐭 …

     # 𝙖𝙘𝙩𝘰𝘯𝘦

TW:  very  brief  mentions  of  alcoholism, religion and death. the origins of a screenwriter are of little consequence in the grand scheme of hollywood. most of the time, ines sampaio exists in the public mind the way venus was birthed from the seafoam—  which is to say suddenly, from places unknown. the truth is less cinematic. tucked away in a quiet pocket of rio de janeiro, the sampaio household would serve as the backdrop to the beginnings of a dream misunderstood. she always had a talent for storytelling. the third born daughter to a saint and a drunk didn't make most things easy, but creative power was not something ines ever struggled with. she was an outcast in her town from a young age, with an imagination that drove many a catholic school nun into scandalous outrage. teachers praised her brilliance in the classroom, while her parents tried to convince her that her mind would be put to better use in a more traditional field, like the ones her siblings favored. writing wasn't something ines even considered at first, aside from the diaries she'd started keeping since she was seven. in the beginning, the tale weaving was only oral; elaborate stories rewriting her own life passed on to shopkeepers, classmates, sometimes even her own siblings. it wasn't her intention to lie, in fact ines knew it would be very easy to separate fact from fiction when most of the time the events she was rewriting involved her notoriously deadbeat father. what she wanted to do was captivate— and at that, ines succeeded. putting pen to paper was only the natural next step, adolescence finding her with a whole new host of problems to work out, which she did in the privacy of locked journals. she's introduced to film by chance; there'd never been a television in the sampaio household, a luxury they couldn't afford. the movies they'd watch in school never interested her, monotonous and filled to the brim with religious lessons ines couldn't care less about. but real film? it was love at first sight. she'd made a friend the summer before she turned thirteen, beatriz, that would change her life in more than one way. together the girls would sneak into cinemas, watching reruns of classic films, or anticipating the arrival of new ones with a hunger unable to be satisfied entirely. soon enough ines was inspired to write her own scripts, beatriz serving as the heroine in a myriad of never-finished screenplays. they dreamt of los angeles, of leaving brazil together— only beatriz would die a little after her sixteenth birthday. a terrible accident, they called it. but no papers mentioned the unnatural way the girl's body had bent, nor the eyes that would forever gaze into nothing. it would be the first line ines wrote for the screenplay that finally had an ending. at seventeen years old she left her hometown for good, her new chapter in the city of angels just beginning.

     # 𝙖𝙘𝙩𝘵𝘸𝘰

in 1985, ines arrived in california with nothing but a suitcase and the address of a grandmother she hadn't seen since her baptism scrawled out on a worn piece of paper. iara de andrade was a retired music teacher living in laurel canyon, who took ines in under the condition she would make something of herself. a patron of the arts herself, it was the first time ines felt a semblance of what it must have felt like to grow up supported. under her grandmother's guidance, she was able to adjust to her new life easily, like slipping on a second skin. the faraway dream of a girl trapped in a place too small to hold her ambition became a reality when she was accepted into emerson college's filmaking program. boston was nothing like los angeles— it took a different kind of adjusting, and in those first few months her passion for film was her only lifeline. it's why ines didn't hesitate to lie her way into one of the more competitive classes, which had already been filled for the semester. stealing the spot of another student, ines knew whatever she did from that point on, it would have to be brilliant. she hasn't looked back since. although she's established in her career, having made a name for herself over the last ten years, her dedication to her craft has never faltered. there were setbacks, like her father's passing in 1989, or her grandmother's only two years ago, like the projects that died in production, or the ones critics failed to see value in. but none of it deterred her from the path she knows is hers, nor the strive for relevancy she continues to reach towards. acclaim isn't enough; ines wants to change the world through her screenplays. it's why some of her most credited projects are those that leave audiences thinking and speaking about them, not because they necessarily would love to watch them again, but because there was something haunting and thought provoking there and they couldn't deny they felt it. news of the hollywood hunter is the first thing to rattle her sense of security in a long time, leaving ines shaken. but underneath that there’s the morbid curiosity of a writer. as someone who’s explored darker themes of life, death, and morality in her work, even delving into psychological horror in the past, a part of ines can’t help but feel  fascinated  by the hollywood hunter. if it wasn’t her reality perhaps she could even find the story of it all poetic. although she realistically knows she could very well be a target, ines is not totally immune to the god complex that comes with status. a part of her stays detached and lets her believe maybe she  is  untouchable, but once the day comes to an end and she closes her eyes to sleep, the impending sense of doom gets harder to ignore.

            𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐢𝐭𝐲 & 𝐭𝐢𝐝𝐛𝐢𝐭𝐬 …

for a public figure, ines has a private nature, which ironically seems to add to her intrigue. she’s selective with interviews, famously claiming to loathe them, but does seem to pour her all into them when she feels she has something poignant to say. one of her biggest pet peeves are celebrities who purposely attract the attention of tabloids, and she’s not shy to hide her disdain whenever casting directors consider such figures for any of her projects.

contradictory to her sense of privacy, she does have a wide circle of friends and acquaintances, many of whom are considered bigger names in hollywood. most of those friendships were forged at her infamous house parties where artists of all trades mingle, and more notably gossip, within the privacy of her own home. while ines does enjoy the social and networking aspect of her parties, and loves hosting even more, her biggest takeaway from her parties is always the opportunity to observe hollywood’s most prominent with their guards down. whatever secrets come to light, ines will lock them into her vault of inspiration, and likely recycle and regurgitate information into her screenplays.

undeniably gifted, if the quality of her work is anything to go by, her good reputation makes perfect sense. pair that with a personable nature and a penchant for collecting hollywood friendships, and the stage is set. but bias can be a blinding thing— sensical or not, there’s no saying ines is deserving of her positive reputation. compulsive and enigmatic qualities are overlooked or brushed off by those she works with, sometimes because they consider her a friend, sometimes because there’s often a more difficult person on set. she tows the line on what she can get away with while maintaining her reputation, and so far, it’s worked. she finds it convenient to be seen positively, but at the same time, she’s not particularly attached to the maintenance of that label. above all ines values her artistic freedom, so if there ever comes a time she’d have to sacrifice integrity to be seen a certain way, she won’t do it.

once a project of hers has been cast, ines will always make tiny rewrites to her scripts to include tiny, seemingly innocuous details from the actors' lives into their roles. usually it’s as simple as giving a character the same old childhood dog the actor had, or perhaps changing a background character’s name to one with some kind of meaning to the actor. her process is almost always received well by those she works with.

before owning her own place, she had a residency at the hollywod hotel roosevelt for almost a full year. a lot of inspiration for her earlier work was gathered by watching guests come and go, as well as for screenplays that never saw the light of day. to this day ines has a cocktail named after her, an elevated take on a gin fizz, which can be ordered at the roosevelt lobby bar.

she’s farsighted and wears her prescription glasses often, especially in work settings. for industry events and award ceremonies she’ll opt for contacts, amusingly confusing an attendee or two into mistaking her for a no-name, upcoming actress almost every time.

she speaks five languages fluently: portuguese, english, spanish, italian, and french, in order of proficiency.

unabashedly gatekeeps. ines will cut designer labels out of her clothes not only because she prefers the simplistic look, but because there’s less of a chance of recreation.

she holds an appreciation for the music scene passed down from her grandmother, and takes every chance to immerse herself when she's staying at her laurel canyon property, which was also passed down from her grandmother.

since her birthday is january 4th, ines will famously extend the span of holiday celebrations to include her birthday, declaring the real start to the new year couldn't possibly exist before january 5th.

she has a private landline number, which only a handful of people have. for those select few she's available no matter the situation or time of day.

ines is reticent to talk about her past, and prefers to keep both public and private knowledge of her life before california nonexistent. for this reason alone she's happy with her place behind the prying eye of the camera and widespread public fame.

primarily writes for films, although she's written for tv before. while most of her work has been in english, ines has done a handful of projects in portuguese as well.

            𝐰𝐚𝐧𝐭𝐞𝐝 𝐜𝐨𝐧𝐧𝐞𝐜𝐭𝐢𝐨𝐧𝐬 …

anything and everything! i would of course love to see other people in film or tv she's worked with before: people she's worked with more than once because they got along great, people she'll pull out of projects for because they've worked together before and it was a disaster, actors she's written whole scripts for, actors she begrudgingly accepts working with because although she can't stand them, no one brings a role to life the same way. i could go on and on but anything you could imagine to fall under this category... i'd love to see. celebrities who frequent her infamous house parties: this one is self explanatory and is 100% open to all muses, not just those in the film world. and lastly... people she's inspired by: this sounds so broad but i imagine there are a handful of celebrities ines would be transfixed by, mainly because of their stories. whether or not ines is upfront about this could depend. maybe your character knows they're a muse of sorts, or maybe your character is in the dark, and ines isn't being clear with her intentions in their connection. i would say watch this space but i really love crafting muse specific connections so i'm running out of steam for ideas. i will say concepts that are always welcome are exes, rivals or competitors, close friendships, broken friendships, confidants, etc. AND CUE THE END CREDITS!!!

[keirahknightley]

Costume appreciation series: Barbie (2023) dir Greta Gerwig

Costume Design by Jacqueline Durran

[skulandcrossbones]

To the Pitt crew. To all the people we saved. And the ones we couldn't.

THE PITT SEASON ONE | TITLE CARDS

[bookshopbentley]

i have the angel and demon on my shoulders except it’s aziraphale and crowley and instead of one telling me to do something good and the other telling me to do something bad theyre both telling me to do something gay

[a-scary-lack-of-common-sense]

HI i’m personally a crutch user and i love scout with crutches but consider

pyro or engie crutch user(s)

im a big enjoyer of my comfort characters being just like me i hope this is ok 👍

Pyro or Engie crutch users? ❌️

Pyro AND Engie crutch users ✅️

Hopefully these cane personalisations don't look too weird?? I have no idea where I was going with Pyro tbh, I think I was trying to make it a mini lighter but kinda failed miserably :')

Edit: FUCK, YOU SAID CRUTCH NOT CANE I'M SO SORRY I GOT IT MIXED UP

[skrunksthatwunk]

leaving home

[charlesemersonwinchesteriii]

Based on the limited number of remaining davechella spots, it's unlikely we'll get a Dundy playlist, which is a shame because I personally would have loved to hear Daft Punk's Get Lucky 18 times in a row.

[campbyler]

A CRUEL SUMMER WITH YOU ☼ CH10 (PART I)

“It’s not a big deal,” Mike says, a sentence that is entirely antithetical to everything he has said or done or felt or thought in the last forty eight hours. He doesn’t even have to look at Lucas’s face to know there is a very unimpressed expression plastered there — but he does, and there is — and then, steeling his courage and shuffling some detritus around with his shoe, adds, “It’s just— me and Will have been hanging out more?”

[x-noirangel-x]

I made a collage of my favourite person and I! ( ^ _ ^ )

[certifiedlibraryposts]

Any of you who feel bad about having overdue materials, just know that I, Library Enthusiast Nerdass Blog Runner, just realized i have accidentally kept the first two Dungeon Meshi books hostage for a week.

[rings-of-power-realm]

Thank you Robert Aramayo for being a better person than the entire internet. It was a beautiful scene and you and Morfydd handled it perfectly 💚

[beanghostprincess]

Finding hilariously ironic how most of Sanji's perv jokes end up being extremely trans-coded to some extent only because the joke is longer than it should be.

The "guy with a woman's body" joke has been a thing for ages now, but it usually ends after the "haha I have booobs" joke. Sanji extends it to "I want to stay in this body forever. It feels right. I don't want to give it back". Which could still be read as some perverted stuff, but I don't think any man would agree with that. No matter how much of a pervert he is. Because usually being perceived as a woman is something they refuse to go through although they like being in possession sexually of a woman's body (a type of excitement Sanji actually shows, not by being that much aroused by it but being comfortable with it? Which is... A different approach to the joke).

Sanji has made the typical "going into the girl's changing room/bathroom" joke a couple of times, but in Egghead he goes all the way to be extremely frustrated about not being able to do so? And it is obviously different than wanting to keep Nami's body forever. It can still be seen as frustration for not being able to see girls naked. But. But. The fact that the length of the joke increases? The fact that it's way longer than it should be for an average "haha boobs" joke? You know what I mean.

Not to mention his whole arc during the time-skip and how a simple (both transphobic and misogynistic, by the way) joke, goes all the way to show us that Sanji is indeed comfortable in more feminine clothes and environment, until he's pretty much forced to snap out of his fantasy to go back to the crew. But he wasn't having a bad time at all. And it is intended to be a joke, but it's... Longer than it should be to be considered only a joke and to not pay attention to it.

This isn't meant to be an analysis of any kind because if it were I would've worded it differently and would've mentioned how his childhood is also extremely trans-coded, but we all already know that. I just find it extremely funny how all of these jokes that intend to be directed at straight perv men are actually too long to not be taken into consideration as something deeper than a joke. But, aha, yeah, these are just jokes and definitely not proof of Sanji's perception of gender and his issues with it.

[amvro]

pairing: amuro tooru x reader

summary: he is home late (again) but you love to stay up for him

cw: i would not say suggestive but a lot of kissing implied ? IDK IM SORRY, it’s very short

It wasn’t rare for you to be staying up waiting for him to come home, but tonight he was especially late coming home and he truly did not expect you to still be up. The clock almost ticked 3:30am and he truly wished he didn’t have to stay out so late if he knew you would still be up. He was going to ask why you were still up and tell you about how you should’ve just slept without him, but he knew you would tell him you would be too worried to fall asleep regardless. 

“I’m so sorry I was so late,” he said, apologetically. “But really, next time you shouldn’t mind me. It’s far too late.”

“And it’s far too late for you to be out with no one to greet you when you come home,” you replied with a soft smile. Gosh he was in love with you. “Waiting for you to come home is one of my happiest times, at least let me do this much. Besides, it’s a Friday we get to sleep in tomorrow.”

And you were absolutely correct. Although he’d tell you every single time to go ahead and sleep, it still warmed his heart when he saw you reading a book or scrolling through your phone with a warm tea, waiting for him to come home. The way your face would brighten up when he came home was truly the only thing that could heal him from a long day at work.

“I’ll hop in the shower real quick, so go to sleep okay? It’s still not good to be up this late,” he said as he took off his coat and put his stuff down, getting ready to step into the bathroom.

“Wait,” you said, almost subconsciously.

“What is it, love?”

“Oh, um,” you said, you hadn’t meant to say it out loud. You looked up at him slightly embarrassed. “....kiss?”

A faint blush covered his face as his eyes narrowed and lips pursed. He did not understand how you managed to make his heart flutter from such simple words after all this time, but he did understand that this wasn’t going to go away. He walked right back to you and pressed a kiss on your lips. He was going to kiss you again when he resisted the temptation and kissed you on your forehead instead. 

“Why not?” you asked quietly. You were going to kill him if you kept this up.

“Because I’m not going to be able to stop at this rate,” he said, but you went and kissed him instead.

“But I don’t want you to...” you said. That was it, he was giving in. Saving the country was a whole lot easier of a challenge than the ones you gave him it seemed.

“Okay, now you’ve done it,” he said, kissing you again. 

The shower will have to wait a little. 

[crow-caller]

Really enjoying fields of mistria, unsurprisingly. I'm a big farming sim fan and it's a really good one, even in early access. The characters really shine— so many games have only one or two characters i like let alone want to marry, these guys are a lot of fun

Random Q: why isn't olric romanceable? He's the only character you'd expect would be who isn't. Is he canonically aromantic? Like good for him, I'm just surprised he's the only "single your-age" character who isn't

[thehomelybadger]

how long did ratc take you to plan & write? i see you published it over a year or so on ao3 but i’m curious about the planning & drafts too. ratc reignited my love for fics & inspired me to write as well but i’m spending foreevverrr in the planning stage and actually writing is so tedious (perfectionist) & i wonder if i’ll ever get to the point of writing something as detailed and fleshed out as ratc especially w other commitments like uni

follow up question, is there a particular book, series or piece of media that majorly inspires your writing?

fantastic question.

one of the big things folks ask me when they approach me about RATC is how i kept track of it and how long it took to plan. The answer to both is basically a month or so - from posting chapter 1 to chapter 33 took exactly a year (I planned it that way!) with a few months off when a relationship ended and I lost my job (that was UNPLANNED).

RATC became the beast that it is by answering questions I kept asking myself. I didn't set out with the answers already in hand - I kind of discovered them along the way. I'd ask things like 'what do I want to express with claggor?' and i'd answer 'well, a dude with depression who everyone thinks is dumb but is incredibly emotionally intelligent'. that leads to the question 'ok, what does that look like on the sumprats?' and the answer was as an assistant captain, and showing all the things that displayed how an emotionally intelligent guy would be really valuable to a team situation.

it's a trick i learned from professional tabletop DMs - worldbuilding is essentially asking yourself questions and being honest with the answers. that coupled with the fact that I knew the ending sequence - I wanted the Sumprats to come back from down five goals in the final game, the 'won't back down' crowd singing sequence, and Cait wearing Vi's journey - meant that I could basically lay out breadcrumbs that would pay off down the line. when the fic began to expand past my initial 9 chapter expectation (queue mocking laughter) I kept myself focused by completing what i called mini arcs - Caitlyn finding herself in the team and Vi protecting her with Claggor is act 1, Ahri coming back and them starting a romantic relationship is act 2, etc. etc. etc.

so, to say that I started off planning it isn't accurate. what's more accurate is that I decided on my endpoint and discovered all the little places the story could go along the way. it worked for me, and my adhd, and it worked for me because i loved writing it and wanted to keep revisiting the world.

as for the tedium of writing - one of the keys for me is that i really wanted it done, and had fun doing it. if it had ever been tedious for me i don't think i would've been able to power through, so it kept being fun for me.

regarding the series/books I read: I read a ton of romance novels because life is hard and i want to read warmth, but stephen king, dennis lehanne, and nora roberts (lol what a trio) have all been big influences on the way i characterize folks. my favourite TV show of all time is The Wire, but I love Chernobyl and the first season of True Detective and the Godfather trilogy - the media i tend to really cherish is media that makes me think, or makes me shut my brain off. it's weird that way.

i am so sorry for the ramble, and thank you so much for the question.

[crystalknuckle]

@impinged || ♥’d for a starter

who needs tears when all it takes is a pointy hat to stop an ex-defender in his tracks? far from frozen, though. it's more like his entire body's been set alight, his speeding heart seconds away from bursting! he has every right to still be upset -- everyone else is -- but how could he be? he's so relieved he can't even find it in himself to care.

because... because siffrin's here! on the same island! he doesn't look hurt, either; the House was practically wiped, and he's just... lazing around! near a massive tree, of all things, covered in lights and tinsel. pretty as it is, isabeau can only acknowledge it for so long before his mind circles back to the person beneath it, and the remaining distance between them as he tears through the snow.

"sif!!" trembling hands reach across the final stretch... then stop, inches away, as his stomach sinks with ice-cold clarity (urghh, what am i doing!? it doesn't matter how much i want to grab him -- to pull them close and prove they're real -- i can't just--).

"what the crab were you thinking?!" he blurts instead, only to shut his big mouth with a flush. "sorry, i'm just... really glad you're okay. i-i mean, you're super strong! always have been! but taking the king on alone? that's..." well, 'reckless' doesn't even begin to cover it. he can't scold them, though; hates the idea of doing it again, really!

so he backpedals, gripping his sleeve, "i. um... look, if this is all some sort of messed-up dream i'm having, can you just, i dunno, pinch me or something? i don't wanna get my hopes up!!" 'cause he dreams about siffrin a lot (like, a lot) and this is definitely giving 'too good to be true' vibes??