#muse;william

[beausprouts]

Dancing with my deepest dark desires

[cloudysarts]

ive seen SEVERAL 'bill and mabel friendship' au's over the years and i love them all, so i figured it was about time i show the world mine!! ^^ im calling it Mabel's Muse. details under the cut!!

(DISCLAIMER: THIS IS NOT A MABEL X BILL AU. GROSS. PROSHIPPERS DONT TOUCH THIS)

in this au, bill and mabel form a bond in the very early era of the show. like, early to mid season one. much like ford did, mabel lets him into her mind, and they form a close bond. she has no idea he has any ulterior motives. the rest of the shack, and honestly the town in general, chock this up to a weird "phase" of hers, referring to bill as "mabels imaginary friend". but mabel calls him her muse <3

theres a little more to it than this but its honestly still a work in progress, so take this for now and let me know if anyone would be interested in seeing more of this!!!

(edit: if you're interested, you can now check out more of this au (with additional art and lore) over here!) (EDIT EDIT: made some more!! here and here <3)

[joeloverture]

it's been on my mind since i've started reading tlou reader-insert, but i just want to let you all know: plus-sized people can exist in the apocalypse. there's a plethora of reasons why:

genetics. lack of eating can cause slower digestion. your body enters survival mode and slows down your metabolism. eating canned, processed foods that outlasted traditionally healthy foods.

people can be plus-sized and still athletic. people can be plus-sized and have 'healthy' lifestyles. people can be plus-sized and not fit your expectation of what being plus-sized is like.

i make this post because, with fatphobic rhetoric always floating around, it's hard to remember that you exist as you are, oftentimes regardless of circumstance.

[7pleiades7]

Titania Sleeping (1840) by Richard Dadd (1817-1886), oil on canvas, 64.8 × 77.5 cm, Musée du Louvre, Paris

[lionofchaeronea]

The Dance, William-Adolphe Bouguereau, 1856

[little-blurry]

[cleopatragirlie]

𝐉𝐚𝐧𝐞 𝐀𝐬𝐡𝐞𝐫 𝐚𝐬 𝐏𝐞𝐫𝐝𝐢𝐭𝐚 𝐢𝐧 𝐒𝐡𝐚𝐤𝐞𝐬𝐩𝐞𝐚𝐫𝐞'𝐬 '𝐓𝐡𝐞 𝐖𝐢𝐧𝐭𝐞𝐫'𝐬 𝐓𝐚𝐥𝐞' (𝟏𝟗𝟔𝟔)

[flor4de4amor]

cheerleader!reader having a threesome w basketball!abby n team photographer!ellie

[witchrealms]

(x)

[aflawedfashion]

Amy & Rory | Doctor Who 6x05

[layla-keating]

ALL AMERICAN 6.01 "Things Done Changed"

[florencebirdsong]

Okay hear me out! Teen being Wanda son and Agatha’s son can still happen.

Agatha loses Nicholas as a baby/toddler. William says “thank you, for everything” to his father at the bar mitzvah. This has significant meaning based on his father’s returning look. I’m assigning it as William being adopted aka Nicholas ends up as William Kaplan.

The rest follows the show as we know but with the certainty that Billy and William combined in death (“am I William or am I Billy?!”). Ergo, he is both Agatha(/Rio) and Wanda’s son.

[cloudysarts]

ever since i was a kid, ive wondered what it would look like if mabel was convinced to rule gravity falls alongside bill during weirdmageddon.....and my au FINALLY gave me an excuse to draw up a design for it!!!! SO, i introduce you to: Henchmaniac Mabel!!!!!!!! look at how cute she is!!!! <3 more context under the cut!!!

(other mabels muse au parts can be found here, here, and here!)

if you don't wanna check out the other parts, a really quick summary of this au is that: near the beginning of summer, bill reveals himself to mabel, and they become fast friends. everyone else in town assumes hes imaginary, but she knows hes real. what she DOESNT know, is that he has ulterior motives for wanting to get on her good side, specifically....

eventually, that leads to this!!! ford and dipper pull away from her, upon the discovery that shes working with a demon, which makes her feel more isolated than ever. shes convinced they just have the wrong idea, about bill. when ford suggests dipper stay with him after the summers over, she finally breaks down, and is comforted by her "muse". he promises her more summer! if she just break's her great-uncle's rift :)

of course, mabel isnt a MONSTER. and bill knows this! he knows that she might think his idea of a party is a liiiittle bit extreme. so, at the beginning of weirdmageddon, he gives her a gift! a pair of magic goggles! and juuuust enough of his power so that she can share in the joy of re-decorating the town :)

[elv1raes]

★ CVNTY ASH WILLIAMS.

roleplay + single muse. free / pay what you can. preview + download.

cvnty ash williams is a two page carrd template made for single muse roleplay blog. easy to use and edit, utilizes container and text styles. gradient header not included. both desktop and mobile responsive. base account friendly ... no subscriptions needed! please read my terms of use in my pinned post!

[pommedepersephone]

I watched Queer yesterday and I have FEELINGS about all of it. First of all, brava, it was amazing. The acting, the costumes, the cinematography, the soundtrack, it all worked for me. I am going to be gnawing on this for a while. But to satisfy my immediate urge to scream into the void about this movie, I want to talk about cameras, in both the book and the movie.

In the intoduction to the 1985 edition of Queer, William S. Burroughs wrote-

What Lee is looking for is contact or recognition, like a photon emerging from the haze of insubstantiality to leave an indelible recording in Allerton's consciousness... Lee does not know that he is already committed to writing, since this is the only way he has of making an indelible record, whether Allerton is inclined to observe or not.

For context, the semi-autobiographical Queer makes Burroughs into Lee, and Eugene Allerton is the fictional version of Lewis Marker (seen here with Burroughs in 1951), who Burroughs pursued intensely.

In a letter to Allen Ginsburg, Burroughs states, "I wrote Queer for Marker." Their relationship fell apart in the course of writing the book, with Burroughs penning repeated letters to Marker in an attempt to reconnect. The longing for "recognition", to leave an "indelible record", is pervasive in the narrative. And the camera serves as a physical manifestation.

🚫 SPOILERS FOR "QUEER" BELOW THE CUT 🚫

In the book, the camera makes its first appearance immediately after Allerton and Lee first sleep together. Lee mentions that Allerton's camera is in pawn, and he offers to buy it back for him.

After they get the camera out of hawk, Allerton does not express any gratitude, and becomes "nervous and irritable" and after a tense conversation the the cafe he abandons Lee, refusing to make future plans.

In the movie (at least the theatrical cut, I mourn for that lost hour) the camera just appears as an object belonging to Allerton. However, the tense scene in the cafe remains, and ends with Allerton getting up to abruptly leave, nearly leaving the camera. Lee stops him, handing him the camera before he goes.

Lee in the book sees the incident with the camera as indicative of their relationship, saying -

He forced himself to look at the facts. Allerton was not queer enough to make a reciprocal relation possible. Lee's affection irritated him... Allerton did not recognize friends who made six-hundred-peso gifts, nor could he feel comfortable exploiting Lee. He made no attempt to clarify the situation. He did not want to see the contradiction involved in resenting a favor which he accepted. Lee found that he could tune in on Allerton's viewpoint, though the process caused him pain, since it involved seeing the extent of Allerton's indifference. "I liked him and I wanted him to like me," Lee thought. "I wasn't trying to buy anything."

While the story of their trip I to the jungle is vastly different from book to movie (which I am sure will be its own future ramble) they end very much the same - abruptly and with no closure.

While Lee wanted reciprocal affection, when he realizes that is unlikely to happen, he does buy Allerton's attention by paying for their trip to South America. In the book, the camera isn't mentioned during their journey, but its inclusion in the movie feels like a solid artistic choice. Allerton is along as an observer, after all, giving Lee the recognition and indelible record he longs for.

The final chapter, in the book and the movie, finds us back in Mexico City, two years after Lee's trip with Allerton and an extended absence by Lee himself. In the book, Lee is seeking subjects to take pictures of, but mostly resorts to snapping portraits of unwilling people. He says -

There is in fact something obscene and sinister about photography, a desire to imprison, incorporate, a sexual pursuit of intimacy.

The movie, though, offers an absolute gut punch. Two years have passed in the literal blink of a cinematic eye, spitting Lee back out with a camera and Allerton's haircut. It is as if he has become the observer he so desperately wanted, but still he is seeking out Allerton. It made me think of a line from Burroughs' introduction to the book -

While it was I who wrote Junky, I feel that I was being written in Queer.

One of the things I find fascinating is the self editing that took place between when Queer was written in 1952, and published in 1985. Burroughs writes in the introduction about how the death of his wife had influenced the book, and never once mentions Marker. But his memory clearly still stuck with Burroughs, as the editor of the 2010 edition of Queer notes that Allerton appears as a character in My Education and The Soft Machine.

Annnnnyway, I can promise I will be revisiting Queer. AND if you are like me and could not get into Junky, I highly suggest still giving Queer a read.

[candlelightreader]

I was just listening to the DVD commentary on the Snakes episode and I know Grissom and Sara's scene (the only scene they're present in this Nick-centric ep) is big--obviously shipper nirvana--but the commentary by George Eads and the rest (I think one of the writers and either a director or producer) added so much weight that I'd never considered before!

So, Eads remarks on how Sara is the only one who ever talks to Grissom that way. This is, as she really dials up the husky, soft voice she adopts with Grissom. Eads also observes that Grissom is always himself with her, i.e. more of a nerd and rather stripped bare in a way he never is with anyone else. They all make comments on how emotional the scene is and how revealing it is of their relationship because, as always, Sara is 'putting it [her attraction and ongoing interest] out there'. She is never shy about wanting him. (I really need to transcribe the commentaries.)

But Eads keeps coming back to the idea that Grissom is more Grissom or is more himself with her than with any of the others. I'd add that it is not only the fact of their professional position that makes him freeze with her--I think Grissom is talking about himself when he asserts that some men are intimidated by beauty.

You know what magic, Grissom!

Anyways, something I hadn't thought of is that Grissom almost says something back, such as "Let’s go to dinner." But, of course, Sara overtalks and halts his momentum such as it were. But even more, it made me realize how pivotal this scene is, even compared to the Nesting Dolls reveal of her childhood trauma, because this is the moment when Grissom knows 100% that he isn't too late. The flirting takes on a different dimension after this. The looks become more meaningful.

This is especially significant when you consider that ealier in the season, the writers and producers are talking about the explicit intro of Sofia as a romantic interest for Grissom. She was there to create tension and her chemistry with Grissom was very much not subtext. So the decision to make 'this thing' with Sara more solid in the presence of this new love interest adds to the dynamic more than ever. Because the chemistry with Sofia is too easy and too simple. He's too smooth with her. He knows what to say to her at a given moment, because he has no interest in Sofia romantically and doesn't feel threatened by her. She really is just a colleague he doesn't hate. Ultimately, Sofia doesn't leave him speechless the way Sara does. He is not 'himself' when he is with her. Sara, on the other hand, always renders him vulnerable, which of course is why he distanced himself from her in season three, as he realized in four.

And we can see how Sara's effect on him is unique when looking at his other love interests: he does have speechless moments with Terri but by the end, no so much--perhaps there is a sense that while he is attracted intellectually, and somewhat sexually, there is no sentiment after all. With Heather, he never is at a loss for words, which leaves me to lean towards the notion that he was indeed never involved with her romantically--but, perhaps, it is her who makes him discover that sex without love makes him sad whether through conversation or more... In other words, grissom is typically putting on an air with other people. He's fully insulated against them and can act out the persona of an assured, curated Grissom, the bossman, the tin man, the nerd, the professor, the mentor, the father figure, etc.

But with Sara, he is exposed.