#mills & boon

[zanephillips]

NOAH MILLS NCIS: Hawai'i 3.03 "License to Thrill"

[mangeur-detoiles]

NCIS HAWAI'I 3x10

Ohana

[foryourmajesty]

i miss this wonderful cast

twitter | instagram

[sun-ni-day]

NCIS Hawai'i 3x02 Crash and burn

[kirkwallguy]

I'd hate to sound pretentious or smth but I was watching a vid talking about media literacy when it comes to booktok and this idea with those girlies that thinking/engaging with something critically isn't fun and the only way to have fun is to turn off your brain... I don't think VG suffers from this as much as a lot of booktok shite but in comparison to the other games it rly does feel like you're not meant to be paying attention or thinking about your actions (cough not like you get to chose any of your actions COUGH), or the implications of anything? and I'm not trying to say VG fans are stupid or smth cause I think many Want something to think about, but I feel like I've seen a lot of people have to reach very far or just straight up make shit up to engage with the game? (Other games aren't perfect but I was immersed with the games enough to stop and think about how my choice will affect xyz, that didn't happen in VG) There's nothing to chew on in VG basically 😭

it's only pretentious if you don't mean it! but yeah i think there are a lot of parallels to be drawn here - i don't know how to say this without sounding like an annoying gamer bro, but now that gaming is more accessible, it feels like aaa companies do their best to cater to the widest possible demographic. market research probably shows that the majority of people don't want to be challenged or experience negative emotions, ask someone who plays games very casually whether they'd want to experience horrible consequences for picking evil actions in a game they'd probably say "um?? no? why would i want that?" but ask someone who plays a lot of rpgs and they'll probably at least understand the importance of those choices, even if they don't pick them personally. i don't think gaming is an old enough industry to have fully pinned down market research in the same way tv has - when you look at viewing figures, the most watched shows are soap operas and family sitcoms. that doesn't mean prestige tv doesn't have its place, it just means that the majority of people don't watch tv to experience the feelings shows like interview with the vampire want you to feel lol

dav doesn't actually ask any questions of the player. you're told what's wrong and what's right and not really asked to make any moral judgements. the bad guys that you kill are barely human so you don't feel bad about cutting them down (the antaam are dehumanised while the venatori are cartoon characters), the companion quests all end nicely no matter what choice you pick, the big act 1 choice is the closest you get to a negative consequence and it still feels very safe because you don't ever feel like you've done something wrong.

and yeah, it does feel like people writing analysis of vg are TRYING to chew on it, but so much of the enjoyment seems to be about coming up with your own fanon to play in a sandbox. which is fine. that's how i enjoy dai tbf. but it's sad to see after dao and da2, especially knowing how many other games there are that let you do this. SKYRIM is more complex than dav, and that's the game i always mention when talking about power fantasy sandboxes

the booktok stuff is kind of nuanced ofc, turn-your-brain-off rubbish has been available since the beginning of time and i feel like the real reason it's becoming more popular is self-publishing and people being more open about reading it on social media. i've written shitty 19th century porn and it was no better than whatever the mafia boss 50 shades ripoff writers are doing now. buuut also i think the way it spills out into other genres, and this increasing idea that fantasy/sci-fi should be about "escapism", is really fucking over people trying to get published while writing something complicated.

[lgbtqreads]

Most Anticipated LGBTQ+ Adult Fiction: July-December 2024

Peregrine Seas by R.C. Ballad (July 1st) Prince Peregrine couldn’t be happier to be kidnapped by pirates. Peregrine wasn’t cut out for the restrictive life of a nobleman – he’s hungry for adventure, prone to duelling, and his family refuse to believe he’s any kind of man at all. Despite his royal origins, he has more in common with the outcasts and rebels aboard the Cygnus that anyone onshore. He…

[sonadoras]

NCIS Hawaii friendship goals. Good morning. 🤙 Vanessa’s insta.

[canberramaidan]

'Cats do whatever they wish, whenever they wish it.'

The Landowner's Secret (HarperCollins) by Sonya Heaney.

[basicallyanotherwitchesthing]

James Scott Gunn - You And Your Aquarius Man - Mills & Boon - 1974

[booasaur]

NCIS: Hawai’i - 2x08 || 2x11

[creativebookwormprice82]

New Rouge edit (I had this idea for this) now i used a mills and boon book template from their vintage historical book cover and made my own hope everyone likes it

[mangeur-detoiles]

KATE, KAI & JESSE | NCIS HAWAI'I 3x03

" Change what? Everything."

[alice-makes-things]

let’s play a fun game - a writing prompt: guess / outline the plot of these 4 Christmas themed Mills & Boons (large print editions)

[sun-ni-day]

NCIS HAWAI'I 3x03 License to Thrill

[poeticmusingsblog]

I don't want a love that's like diving headfirst into a pool, only to find out it's either an endless ocean or a dry riverbed. I'm looking for a love that grows a bit each day, where the effort is as effortless as breathing, and their genuine kindness is the only charm needed.

P.S. Is this too much to ask, or am I just a hopeful romantic stuck in a Mills & Boon novel, waiting for Mr. Right to turn the page?

[byneddiedingo]

The Big Sleep (Michael Winner, 1978)

Cast: Robert Mitchum, Sarah Miles, Richard Boone, Candy Clark, Joan Collins, Edward Fox, John Mills, James Stewart, Oliver Reed, Harry Andrews, Colin Blakely, Richard Todd. Screenplay: Michael Winner, based on a novel by Raymond Chandler. Cinematography: Robert Paynter. Production design: Harry Pottle. Film editing: Frederick Wilson. Music: Jerry Fielding. 

Just don't. At least not unless you've seen Howard Hawks's 1946 version of Raymond Chandler's novel, which is set, as it should be, in Los Angeles. The shift of the action to London is disastrous, necessitating some lame exposition about why Philip Marlowe and the Sternwood clan are in England. Chandler's plot remains as enigmatic as ever, but in the hands of Hawks and screenwriters Jules Furthman, Leigh Brackett, and William Faulkner, we didn't much care whodunit and why. Michael Winner's screenplay just leaves us with a muddle that has no redeeming flavor and texture. Seldom has a cast of superbly accomplished actors been so sadly wasted as they are here under Winner's direction.