#l think too much

[aliceosemansolos]

I truly hate my family for helping me fall into my addiction and I don't forgive my dealer for dealing me all my shit. Now, I'm just projecting like you said. I don't hate you but I hate what you said. I hate the truth. The truth is that I am a addict and that makes me incredibly hard to be around. I saw the way addiction affected people. I saw all the goddamn bodies and my family still think we have no addiction gene. Everyone is a little addicted to something terrible. Addicted to man who abuses you, alcohol, hurting yourself, drugs, or the idea of hurting others. (This is a lil snippet of one of my drafts bc erm yea!)

[lemongogo]

dungeon lord marcille ft. timelapse

[jesteringbug]

this was funnier in my head tbh

[iknowwhereyousnoozeatnight]

they needed a shorter chain tbh

[god-of-this-new-blog]

One must imagine Lawlight happy

[sexy-sapphic-sorcerer]

jesus fuck the BBC4 Sherlock Holmes radio dramas are gay

I mean, I heard Mary accuse Watson of marrying her "under false pretence" while his heart belongs to Holmes

I heard Holmes and Watson reciting Tristan and Isolde to each other about "existing only in each other, wrapped in love"

but Watson being so scared to tell Holmes that someone wrote a play about him where he's straight! "you're not angry? it's hardly in character"

insane. hilarious. iconic.

[coffeeworldsasaki]

Another thing that makes kaladin so painfully relatable is how much his mental illness hides his personality, because between depressive episodes and trauma he's this sarcastic little shit that smiles a lot at his friends and then the depression gets to him and all that disappears

[pioneer-over-c]

(good timeline version of the thing I posted before, apparently)

[piningpercussionist]

As densely packed as I could tolerate making it- Roxie doodles! (Vast majority of these are from several weeks ago I'm not gonna lie,,)

[sockdooe]

I don’t know if maybe it’s just me, but is anyone else seeing a rise of people claiming that they could do a better rewrite of Voltron and then immediately say they’d make K/L cannon or Adash/ canon?

I don’t know about anyone else but I genuinely don’t think making ships canon would make the show better.

In fact I think It’d make it worse.

And considering shiro isn’t even mentioned in these and if he is it’s just to be Keith dad…. Is telling.

[puppyeared]

its so hard to watch time pass when things like careers and assignments exist. what do you mean im supposed to take that seriously

[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.

[alluralater]

just saw this girl on tinder that i had the most insane rollercoaster thing with in college but she now identifies as a goth dyke and let me tell you… i swiped right so hard but almost didn’t because i wanted to keep looking at her pictures. she looks the same, just different style but it suits her so so well. and as ya’ll know i am a whore for goth/alt aesthetics to my colorful dyke look. the contrast is so giving but it just so happens to be what im usually drawn to. if we even go out to coffee and end up making out over this, it will have been worth the swipe. even if nothing, it was still totally worth it. i cannot lie, she was such a disaster in college though and nearly tanked an entire group project for me but my professor was also a lesbian (shoutout to this professor bc i loved her so much and she really cared about me) and she was like “hey allura,” and proceeded to tell me that this girl was a less experienced gay than i was and was clearly very obsessed with me (cause apparently she had gone to our professor to talk about me and had accidentally dropped a weird amount of concerning info??) and so my professor was going to separate her from me as much as possible (cause at that point she was like causing a crazy ton of issues for my school stuff and in my social life) but i mean… she was/is REALLY hot. her intensity was really sexy and the way she was so shameless was ALSO very sexy. plus i mean, even though she was doing wild shit it wasn’t like she was an awful person. i found her to be super yummy in all respects and was really shook when she flew off the handle and was basically harassing me. now this all sounds really insane i know but… ugh i want her so bad and i really hoped that some years apart would change those toxic obsessive pieces so let’s hope yes and find out

[dreamings-free]

.

[fbfh]

Hey! Could you please do some headcannons of cuddling with Jay from descendants?

Thank you!

oh fuck yes baby boy NEEDS a snuggle so fuckin bad. Jay is SO motherfucking - his full name is Janasheen Lagmani Mufti btw (successor, born at nightfall, one who gives council or legal advice) - Jay is SO motherfuckin touch starved that he'll get injured on purpose just so he can feel you touch him up. After a while you start to catch onto this because you don't have the heart to tell him he's not quite as slick as he thinks he is. So OBVIOUSLY I have a medieval game OBVIOUSLY I have a jousting game the only way you're gonna get him to turn into your snuggly lil bunbun (yes he does insist you call him that after you say it once as a joke and he loses his mind) is to make him think YOU'RE really the one who needs cuddles. like of course you're feeling kinda sad and tired from all your schoolwork so of COURSE you need a big strong tough cool guy star of the tourney team to make you feel all safe and cozy. obviously it's TOTALLY for your benefit. not at all because Jay was not hugged once as a child! that's hilarious and true and totally not the reason at all! I just washed my hands that's why they're wet! no other reason!

but yeah once you actually start cuddling with him it's going to take approximately less that six seconds for him to become a total and complete velcro boyfriend. it takes longer to watch any vine in existance than it does for Jay to latch onto you like a small baby bird. he did not know that touchy feely stuff could be so... nice. especially when it's with you. he tried giving Carlos and Evie and Mal bear hugs between classes when he's away from you and it was good, but it wasn't the same. Maybe it's because Carlos still thinks he's going to get suplexed whenever Jay grabs him like that or maybe it's because Mal keeps asking if he huffed her spraypaint and that's why he's so huggy out of nowhere (Evie doesn't mind too much as long as he doesn't wrinkle her outfits or mess with her hair and makeup. she actually approves of you two and likes that you're bringing out Jay's more affectionate side. she makes a mental note to give you the friends and family discount on any future designs you order from her.) but shortly after that first time you snuggled up with Jay and had him tell you all about the video games he's been playing and about tourney practice he's full on addicted to your touch and cuddles. Coach sometimes has to pull you off your extra curriculars to give Jay hugs and kisses during practice when he cops an attitude or gets too rowdy. you're known as the Jay whisperer immediately and believe me the nickname sticks. Carlos asks what the hype is once and you give him head scratches and he understands.

[clarissaweasley-10]

It would be the biggest plot twist in the history of plot twists if Grayson and Lyra don't end up together