#little fall of rain

[romancantthinkofausername]

cyan lizor

[vela-pulsars]

a little experiment

[motions1ckn3ss]

[modernmiserable42]

wasn't expecting this to become a full work out of that sketch

[wormheamer]

friendly fire attack on @druidshollow

[pixelatedraindrops]

being yuma kokohead is suffering

everyone's mean to him

he's just a little guy ;^;

[carouselunique]

I saw you running your snout on X~♡

Sure im ugly, im fat, and of course im not all up there sure~♡

But hey atleast i dont like humiliating a non binary trans character, and if im 100 percent honest your little worthless ship of luz and mabel is pasable, maybe even decent.

But doesn't change the fact you promote transphobia supporting this type of rhetoric~♡

Lmao it’s amazing how you think you have the moral highground by being a bully over a canon crossover ship. Stan x Eda is quite literally a canon ex-ship and I don’t think Raine would have an issue with a relationship that happened between their own with Eda considering they were broken up when it happened.

But by all means keep being a dick about it, it’s fuckin’ funny. All this smoke for old people romance.

[dynjay]

Bitter reunions

[clemssigss]

the weight would break the backs of ten strong horses. 🦇

[piratecaptainscaptainpirates]

It's such a cruel thing to be afraid of yourself.

Even though Ed is realistically one of the least violent characters in a show about violent pirates, and we're beaten over the head with that over and over again, he's horrified by his capacity for violence at the same time as he often feels he's defined by it. He's getting so much better by the end of season 2, but he's internalized a view of himself as a hyper-violent monster to the point where that's just not going to be going away overnight.

I imagine Ed measuring their strides as he and Stede walk down to the market, trying to reassure himself that Stede could outrun him if he needed to. He tells Stede that he's hiding their old stock of weapons under the bed just in case of an emergency and puts them all under Stede's side so Stede would reach them first. Having those bad moods that all people have and worrying that he should hide himself away or try to restrain himself somehow, because obviously he'd never ever want to hurt Stede, but he's been told over and over again that he's insane and erratic, so he can't trust how he feels. Keeps his meals light because it'll be safer for everyone if he's weak.

And I imagine all those fears and that self-hatred slowly getting chipped away. Stede asks him to give him a tattoo, when Ed waffles about how it might hurt a bit Stede laughs and says "you'd never hurt me." Bringing home a tiny scrap of a kitten he found shivering out in the rain, looking at that tiny thing in his hands and realizing it's not afraid of him and it has no reason to be. Having a stupid domestic spat and realizing that neither of them even really raised their voices at each other, just got a bit bitchy for twenty minutes and then apologized.

Just...getting to see that he's a gentle man and not a monster.

[wraithee]

I wonder if all miracles make Crowley as happy as he was when trying to make Nina and Maggie fall in love? For centuries he and Aziraphale split the work, and I wonder if the jobs he did ‘playing angel’ brought him as much happiness as well.

[loremaster]

[jrbsfx]

A walk down to the lakeshore in the pouring rain, followed by a mug of hot tomato soup by the stove

[cometomecosette]

I could probably write a full essay defending the existence of "A Little Fall of Rain" in the musical of Les Misérables, even though it's not the most accurate portrayal of Éponine's death in the novel, and even though Hugo lovers have every valid reason to dislike it.

Yes, it sentimentalizes and romanticizes Éponine's death. Yes, whether intentionally or by accident, it practically cries out for the audience to ship her with Marius. Yes, it distorts Marius's character from the novel to have him show her such warmth and grief rather than just pity. Yes, it arguably dilutes Éponine's tragedy too: in the novel, a key part of her story's sadness (and arguably its social commentary) is that Marius doesn't care about her, doesn't even give her basic gratitude for all she does for him, and even at her death can only give her compassion, not grieve for her. (Just like Javert's superiors couldn't care less about him, right @secretmellowblog?)

But all those arguments are intellectual. As I seem to remember that @cto10121 once wrote in a post about Les Mis (or was it someone else?), a musical is inherently more emotional and less intellectual than a novel.

From a purely emotional standpoint, I can't deny the beauty or the sheer catharsis of the musical's version of Éponine's death. Not only because Éponine dies blissfully in her beloved's arms, and finally bares her soul to him as much as she can without actually saying the words "I love you," but because at long last, Marius knows her, sees her, shows that he cares about her, and grieves for her as she deserves. This moment of connection and tenderness between Éponine and Marius might not be what Hugo wrote, but in the context of the musical, I wouldn't trade it for anything. and I doubt the most casual fans of the musical would disagree.

[le0nt1n4]

It’s fall season soon 🍂

[k-marzolf]

“She thought to herself, "This is now." She was glad that the cozy house, and Pa and Ma and the firelight and the music, were now. They could not be forgotten, she thought, because now is now. It can never be a long time ago.”

— Laura Ingall’s Wilder, Little House in the Big Woods