#nick sawyer

[nofatclips]

Mushin by Dead Can Dance - Director: Graham Wood

[p34ce0fm1nd]

maybe in another universe we’re meant to be together

another universe(s)

[nllick]

Had to do this. Creds to my bestie @bbgjohnnyy for the Johnny screenshot 😍

[juniperhillpatient]

I’ve always been fascinated by female characters that are defined specifically by what they mean to the (mostly male) characters around them in an objectifying way but I don’t mean misogynistic writing because I fully believe the narrative can be aware of the tragedy of never belonging to yourself or being allowed to have any agency in your own life. The mysterious dead girl who is the object of everyone’s curiosity or grief whose relationship with the men in her life is the focus of the investigation. Like…. The horror of having no agency within your own identity & no power to change that or take control of your own narrative.

[justagirlwholovesheathers]

If you told me…

[bullet-prooflove]

A quick round up of updates on the blog including new characters added to the ASK LIST and a list of fics that went out last week:

New characters were added to the ask list this week:

Brock Renyolds (SEAL Team)

Sonny Quinn (SEAL Team)

Trent Sawyer (SEAL Team)

Eric Blackburn (SEAL TEAM)

David Hale (SOA)

Aaron Thorsen (The Rookie)

New Fics:

Chicago Med:

Fraught - Companion piece to The Fight Before Christmas and Should Have - Sam makes a decision regarding your relationship.

Sapphires - You and Mitch share a moment the night before your wedding.

Chicago PD:

Crossing The Line - Companion piece to  Ghosts - You and Antonio cross the line.

Criminal Minds:

Rough - Luke needs something special after a bad day.

FBI:

Marilyn - OA supports you in the aftermath of a UC mission.

FBI International:

Waiting - Scott hates waiting especially when it comes to something so important.

FBI Most Wanted:

Not About You - Companion piece to Interruptions (NSFW), Million Reasons, & Got You - There's only one way to get Remy out of his head.

Fire Country:

Space - You give Manny some space when his ex wife comes to town.

Haven:

Worse - An encounter with the Rev triggers you and your Trouble. (Dwight Hendrickson x Reader)

Law & Order:

Otto - Cyrus falls in love during the dog fighting case.

Come Back To Bed - Nick tries to coax you back to bed. (Nick Baxter x Reader)

The Musketeers:

A Cottage In Nice - Treville disappears after he is dismissed by the king.

Silk (NSFW) - You bring aerial silks into the bedroom with Porthos.

Narcos:

Marry Me - You can never give Horacio the answer he wants.

NCIS:

Where Evil Grew - Nick has to tell you the bad news about your sister.

Commander Ray - Alden won't admit he's jealous.

NCIS LA:

3 Times Sabatino Thought About Proposing and the 1 Time He Did - Part Four: Cake - Nina helps Nik propose.

NCIS New Orleans:

Atlanta - Companion piece to Just Another Sunny Day In Georgia & Dance With Me - You show Dwayne what happened in Atlanta.

Sugar Boots - Chris has a special nickname for you.

The Rookie:

Every Rose Has It’s Thorsen: Aaron realises he needs to come clean about his past.

The Rookie Feds:

The Devil I Know - Companion piece to Estelle - You make a choice regarding your relationship with Brendon.

SEAL Team:

Three Months - The few days before deployment are always the worst. (Trent Sawyer X Reader)

Buried Socks: Ceberus has a unique way of showing how much he misses you. (Brock Reynolds x Reader)

Shitty Little Bar - People always get the wrong idea about Sonny.

Sugar & Spice - Sonny likes a bit of sugar and a bit of spice.

Soundtrack - Your entire relationship with Sonny has a soundtrack. (Sonny's Infinite Playlist)

Angel With A Shotgun - Sonny has a problem with the shotgun you keep under the bar. (Sonny's Infinite Playlist)

Something In Your Mouth (NSFW) - Sonny recalls the last time you went down on him. (Sonny's Infinite Playlist)

Freckles (NSFW) - Brian loves it when you kiss his freckles.

See It (NSFW) - Eric wants you to see exactly how he feels.

SOA:

Graffiti - It starts with a graffitied dick on the outside of Jax Teller's house. (David Hale x Reader)

Smoke - You and Chibs share a joint on the loading dock.

SWAT:

Chose You - Sachez makes a choice about your relationship.

Top Gun Maverick:

Messy - Companion piece to Broken Buttons - Beau discovers the truth about what happened that night.

The Only Man - Companion piece to Duty & Communication & Germany (NSFW) - Beau returns home from Germany.

Will Trent:

Trying!Series Part Three: Thirty Days - Your plans to start a family with Will are put on hold when he goes undercover as Bill Black.

[pathetichimbos]

[elif-in-wonderland]

Little White Lies was an amazing book. Now, onto the next, Deadly Little Scandals seems as good as the previous one.

ALSO, I LOVE LILY AND WALKER 😩😩 like I was so rooting for them and I was so happy they ended up together. I hope nothing happens to my babies in this second and last book. 🧿🥹

[youlooklikeabeeandilikebees]

series 4 being human out of context

[sussyplut0]

art dumb :3

All my fav girls ❤️

[yourartmatters-itswhatgotmehere]

Happy Bisexual Visibility Month with this edit of my favorite/most important TV/MOVIES BISEXUAL PEOPLE♥

it's my 2nd edit, my 1st one here: https://yourartmatters-itswhatgotmehere.tumblr.com/post/701335471288205312/bi-bisexual-bisexuals-in-tv-with-the-song-that

/they mean EVERYTHING to me/

in the edit:

#ACD #AlexClaremontDiaz #NickNelson #JesperFahey #AvaSilva #MagnusBane #NoraHolleran #AnnaTaggaro #NinaZenik #AJCampos #HopeMikaelson #KittySongCovey #YasminaFadoula #VadaCavell #TimmyAndrews #GarLogan #LiShang #PeytonSawyer & #RachelGatina & #BrookeDavis (all 3 are bi to me) #JeremiahFisher #AkiMenzies #Brooklynn #KenjiKon #MichaelGuerin #AdrianIvashkov #RoseHathaway (last 3 have too much bi energy to ignore it)

+we NEED more bisexuality in media: https://yourartmatters-itswhatgotmehere.tumblr.com/post/746941244472786944/so-alright-here-are-the-moviesmedia-that-make

View this post on Instagram

A post shared by sage🌈 (@gretasag)

bi ig highlight : https://www.instagram.com/stories/highlights/18280848235083086/

also i recommend this podcast ‘A Little Queer Podcast’ by two incredible bisexual people Capri Campeau and Ashley Whitfield. episode linked here, ‘Debunking Bisexual Myths and Stereotypes’ :https://open.spotify.com/episode/3wcP8HBIY0IyVxROjpZPNg?si=TIHDv-eFQi-mdsCS6zKzNA (all covered here for real!) +also check ‘A Bit Fruity Podcast’ by Matt Bernstein (very educating one!!)

BOOKS TO LEARN MORE ABOUT BISEXUAL HISTORY & ACTIVISM:https://www.tumblr.com/ruimtetijd/686000390089621504/list-of-books-about-bi-history-and-activism-from &https://www.goodreads.com/review/list/139102124?shelf=bi-bisexual-characters-done-well

The Bisexual Flag, its meaning and history!:https://www.tumblr.com/yourartmatters-itswhatgotmehere/762664140472008704?source=share + Lani Kaʻahumanu talking about how bisexuals have ALWAYS been around!:https://www.tumblr.com/yourartmatters-itswhatgotmehere/762663819491328000?source=share

THIS song (bi bi bi THIS IS OUR SONG!!) by Sub-Radio (the lead vocalist Adam Bradley is bisexual♥) :https://www.tumblr.com/yourartmatters-itswhatgotmehere/765512527066087424?source=share &https://www.tumblr.com/yourartmatters-itswhatgotmehere/765512891127480320?source=share + THIS BAND SINGING THE BLACK PARADE but make it ever more queer pride parade♥ :https://www.tumblr.com/yourartmatters-itswhatgotmehere/765565710891155456?source=share &https://www.tumblr.com/yourartmatters-itswhatgotmehere/765565917201612800?source=share (you’re scaring Ron you’re scaring Rooonn) + an awakening with HSM(?) :https://www.tumblr.com/yourartmatters-itswhatgotmehere/765565797378719744/mndvx-subradioband-happy-pride-yal-anyone?source=share

(+IMPORTANT) (Nov,2023)-A Bit Fruity Podcast (created by Matt Bernstein (gay American Jewish man) Ep with Moe Dabbagh, a gay Palestinian American with family currently in Gaza. ‘Queers for Palestine & The Power of Pinkwashing’. Palestine has been occupied for more than 76 years now, since 1948 year. This ep gives you a LOT of information, especially if you are one of the people who can’t see right through the propaganda; or the ones who go ‘well if you’re gay then go to Gaza and see how that goes for you’. Queer Liberation is a liberation of Palestinian people. We can’t have one without the other. Free Palestine. Free all the people that are not yet free. This is where we start!! Ep on youtube :https://youtu.be/Xsgdk-DDSXc on spotify :https://open.spotify.com/episode/62WOjKJYih6lhuisP8tmZH?si=soRArGs1QeWqEzEaiSVlUg on iheartcom:https://www.iheart.com/podcast/269-a-bit-fruity-with-matt-ber-117844074/episode/queer-palestinians-the-power-of-129612460/(keep learning & keep showing up!)

!!.http://alqaws.org/siteEn/index & https://queersinpalestine.noblogs.org/ + https://www.instagram.com/queersinpalestine/

[nllick]

If any of yall interested in my Johnny edit

[willothewispwisteriadawn]

I'm intrigued by your comparison of tsh, the great gatsby, and heathers, would you care to share some points?

Golly gee! I’m glad you asked, Anon!

(Obvious major spoilers for the three of these things. Also, I’m using the 1988 film for Heathers. I like the musical, but I like the movie a bit more, and it better suits my points here. There are a few differences in tone between film and musical especially regarding J.D.)

(This talks about triggering topics seen in each of these stories.)

/Opening/

All three of these stories provide critical looks at certain communities, and all of them focus on at least one character whose goal is to reach a particular worldly ideal, to achieve a certain aesthetic lifestyle. Gatsby goes about this in a very reflective and melancholy way. Heathers uses humor and satire. The Secret History uses elements of both.

I really like Joseph Campbell and Thomas C. Foster who analyze character archetypes and tropes. Their points are not that this is necessarily copying or unoriginal but that human storytellers often get attracted to the same concerns, ideals, and concepts— we end up revisiting frameworks such as the hero’s journey or the “vampire” archetype for characters. But what is enriching is the author’s own way of commenting on these things. If we look at, say, Henry, Gatsby, and J.D, they are all wildly different people but the same character type. So let’s go though how the stories are all saying the same thing but exploring it differently.

/Great Gatsby vs Secret History/

Let’s start with TGG and TSH. Richard mentions early on that he identifies with Gatsby, and that this is his favorite novel. I’ve seen a few people question this because Richard is much closer to Nick Carraway. And, from a POV perspective, he is. They’re both outsiders attracted to the mystique of another character. And they’re just neutral enough that different characters can approach them about things. But Richard seeing himself as Jay Gatsby is also accurate, because Gatsby has a similar internal struggle to Richard himself. Richard’s flaws and goals are exactly Gatsby’s. Both men resent the lives they were born into, viewing them as dull and not a reflection of how they see their own identities. They take matters into their own hands to achieve their ideal regardless of the methods. They both become liars who slowly work at making their lies more truthful. Richard finds himself attracted to the Greek class, and particularly awestruck by Henry, because Henry is a Gatsby-type too. And it’s more Henry who functions as Gatsby in a POV way. Henry does what he must to achieve his desired Hellenistic lifestyle, just as Gatsby chases after the American dream.

The stories also make similar points about the effect of this behavior on other people, particularly women. A big reoccurring topic of TGG is carelessness. It’s seen through the symbolism of cars. The characters are reckless with their vehicles. Cars are stylish and exciting, but also linked to violence. We see this general concept with Julian who is careless with his teaching methods. Him leaving at the end, with dead and broken people in his dust, reminds me of Daisy and Tom at the end of Gatsby, and Nick saying: “They were careless people, Tom and Daisy—they smashed up people and things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made…” Julian does something similar.

Obviously, Camilla and Daisy fill similar roles. They’re women who aesthetically match the lifestyle the male characters want. Daisy is a stunning American socialite. Camilla is a pretty classics student who plays the roles of big name Greek ladies (notably Clytemnestra) in the class’s readings. Gatsby, Henry, and Richard seem to have varying levels of love for these women. But the idea is the same: “In order to fully complete my own self-transformation, I need to have a woman emblematic of my ideals.” Even Charles fits into this because his views of Camilla get twisted by his toxic and Romanesque concept of what it means to be a male head of household. Both Camilla and Daisy are aware of their own lack of agency. Daisy’s famous line saying the best thing a girl can be is “a pretty little fool” isn’t meant to be taken as the author’s own opinion, it’s Daisy saying she wishes her daughter will be too stupid to realize what an awful situation she’s been born into due to her gender. Camilla and Daisy know that they eventually just need make a plan and go with the man that will make their life easiest. For Daisy, that ends up being Tom. For Camilla, it’s Henry.

As a side note, I saw someone drawing Gatsby comparisons from TSH, mentioning that Charles is Tom. I do understand the connection made here (Charles becomes an antagonistic figure for Henry, and they fight over a woman), but it seemed slightly off to me, and I realized it’s because I view Charles way more like George Wilson. Wilson is incredibly impacted by the immorality going on around him, and views the eyes of T.J. Eckleburg as a constant reminder that God is watching them all. In the end, he has a mental breakdown, victimizes his wife Myrtle and then loses her. Wilson and Charles come to the same conclusion at the end: which is to attack and kill Gatsby/Henry with a firearm. There are obvious differences. For example, Wilson is wrong that Gatbsy killed Myrtle (that was Daisy) and wrong that Gatsby cheated with her (that was Tom). But the backbone is there: a man is haunted by the existence of objective morality. He then concludes that he must violently seize control and kill the one he sees as responsible for his misfortunes.

/Heathers vs. Secret History/

While Gatsby focuses on a desire to be part of an American upper class and TSH focuses on a desire to be part of an erudite class, Heathers focuses on what I’m going to call teenage politics. Jocks, mean girls, bad boys, etc. The cliques of high school. Veronica is a member of the popular girl group at school and is mistreated by her clique. What she craves is to be part of what J.D. represents. He’s a mysterious outsider who is intimidating but also recites poetry and likes Bach. The way he’s introduced is very “Hey look at this guy. He’s not shallow like the Heathers, Kurt, and Ram. He’s layered.” Veronica very much falls into the trap of believing a damaged, edgy boy is somehow deeper than everyone else. She wants to be dangerous and above the other high school cliques. Veronica is exactly like Richard because she knows J.D. is excessively violent the day she meets him when he threatens the football players with a gun, but she believes there’s something cool and beautiful in that. She sees that his opinions are more cultured than her friends, but doesn’t stop to analyze what kind of person would fire blanks at people during school. Well, surprise, it turns out the bad boy is… well, literally just an awful person. There’s no hidden heart of gold like in the movies. Heather Chandler was terrible, but her death shows that people like J.D. are worse.

The situation with Bunny and Henry is similar. Both protagonists go along with the killing (I say this because Veronica was kind of sucked into it more than a premeditated accomplice like Richard), because they were abused by the victim and want to avoid jail time. But it’s also noteworthy that that victim represents a type of person who is opposite of the protagonist’s ideal. Bunny is an uncultured slob; Richard wants sleek intellectualism. Heather Chandler is a shallow mean girl; Veronica wants cool people of substance. Both protagonists eventually realize that the person they’ve partnered with is the bigger threat.

Heathers and TSH also unfold similarly. Both the Hampden and the Sherwood (Westerburg) communities react to the murder in a way that is absurdly off-the-mark. The Sherwood community mistakes Heather’s death as a suicide then proceeds to project deep feelings onto her and rationalize her rude behavior (sometimes in hysterical ways), because tortured souls are deep. They hold all these suicide prevention spectacles that the viewer can see are not really about preventing suicide at all. They’re about showing that people are feeling things; they paint Westerburg High as a place full of psychologically complex people. Bunny’s death gets mistaken as drug usage and similar circuses ensue. There are people projecting onto Bunny because he died young. The whole section in TSH where they do the national drug trivia competition to raise awareness, and Hampden College dominated was HILARIOUS in its irony, and I though, “This is so the tone of Heathers” when I read it.

The way the stories handle the “idealism” character is similar too. Henry and J.D. come across as so wise and above worldly nonsense at the start. You’re distracted by their language and finer tastes. Then, you see that they’re clever when they are able to get away with murder. But the story starts to show you that they’re actually quite one-note in ways. Henry and J.D. both become almost embarrassing to watch, because you start to see how horribly unaware they are. Henry is focused on what book to bring to his FBI meeting—as if that matters—and he seriously thinks the psychic lady might catch them. J.D. starts to come across as so silly because you see how often he speaks in trite little poetic statements that are stupid in context, but that he clearly thinks sound good (“People will look at Westerburg and say there’s a school that self destructed not because society didn’t care, but because that school WAS society. Pretty deep, huh?”). Both Henry and J.D. meet their downfalls because they’re after random, insubstantial “profound” things. Henry goes out with a suicide tied to a tender kiss with a woman, to prove that he could become the perfect Hellenistic figure Julian wasn’t. J.D.’s suicide was a similar thing: a message to Veronica about how complex and world-rejecting he is. (This is a part that differs in the musical. J.D. is actually self sacrificial there. I respect that the musical had to make J.D. softer to accommodate his songs, but the film character’s actions stick more firmly to the point of the story).

Heathers is more of a comedy than TSH is, but they both poke fun then take steps back. Bunny’s funeral is a complete clown show, but there are moments of genuine sadness. Richard acknowledges how evil the thing he did was. There’s a funeral in Heathers where Veronica and J.D. are giggling because they know the things being said about their victim are stupid. Then Veronica catches sight of a crying little girl and stops, shocked by the sudden reality of what she’s done.

Both stories also comment on group mentality. The Hampden community and Westerburg community are prone to ridiculous conclusions and nonsensical actions because of how quickly stupid ideas get latched onto. The Greek class murders Bunny because they’re all downplaying each others’ best traits and drawing out the worst. I listened to an interview with Tartt where she points this out and states that nobody in the class would have become a murder on his or her own. There’s a well-written scene in Heathers where Heather McNamara attempts suicide because she’s depressed but also influenced by what she thinks were her friends’ suicide. Veronica stops her and says “If everybody jumped off a bridge, would you do it?” McNamara gives a very honest and defeated, “Probably.” Both stories explore how people can and often do go against rational judgment due to the infields of the group.

/Tying it all together/

At their core, these stories are all doing the same thing: they’re showing how easily humans can be influenced by romantic ideals, and how easily they lose control of their moral judgment. The works all show that people can so dearly love the aesthetic of a person and what he or she represents that they create an illusion that masks the person’s flaws. Gatsby goes about this in a very respectful, dignified way. Heathers is full of dark humor and moments that are meant to be shocking and hilarious rather than realistic. The Secret History does a bit of both. It’s not as formal as Gatsby but not as outwardly making fun of itself and all is characters as Heathers is. It’s also partially satire but not at the level of Heathers. Heathers is literally making fun of its own genre (teen romance films). It presents itself as a cliche movie then just swerves violently into insanity and a tone that mocks all its character archetypes. TSH and Gatsby are both much more up front. As a result, there are some scenes in TSH that strike me as very Gatsby (scenes where Richard is being more reflective and philosophical) but there are also scenes that are so wild they seem to be working how moments from Heathers did.

Back to archetypes and tropes: While these stories have the same skeleton (a character facing reality after being caught up in romantic ideals), they explore things differently due to different social constructs and narrators of different backgrounds. We have an 30-year-old upper class man whom everyone treats as a secret-keeper. We have a new adult who desperately wants to put his lackluster and abusive childhood behind him. Then we have a teen girl who lacks a perspective outside the drama of high school. These narrators have personality differences and varying levels of culpability in the violence, with Richard having the most since he was a knowing participant in a murder. Veronica is next because she was part of a murder. She stuck with J.D. longer than she should have, and she covered things up, but she was also repeatedly tricked into killing when she didn’t want to. Nick rocked the boat but wasn’t a direct part of any death. It’s Veronica whotakes back the most control at the end. She lights her cigarette on the explosion that killed J.D. (which, wow, metal). She tells J.D. she wants “cool guys” out of her life then goes to get new friends and move past what happened, as arguably unrealistic as that is. Richard ends up with the least control, because he CAN’T move on; the events of the story have permanently damaged his psyche. These endings lean into different concepts: Heathers lets the protagonist triumph and embrace her lesson. TSH focuses on how immorality has lasting effects on the soul. TGG ends by showing pity for people like Gatsby.

This is the same for J.D., Gatsby, and Henry. They’re very different kinds of people which provides variation to the concept they represent. TGG doesn’t present Gatsby as evil, just tragic and wrong. He did hurt others with his shady dealings, but he’s painted as a man who still has his soul. J.D. and Henry actually have pretty intense evil in them and a clear lack of concern for human life. Nick and Richard still hold love for Gatsby and Henry, even after all that happened. Veronica completely denounces J.D.

I mentioned this in the previous post, but I just love stories like this. I love characters who get these kinds of reality checks, and I love characters who have such strong passions that they have to struggle with. All three of these stories are sharply crafted and oh so clever. They’re each so unique in the presentation of these similar ideas that none of them feel like a discount version of another. Their methods of story-telling are different, and their focuses, allusions, settings, tones, and motifs vary as well.

Wow, this is not even all I had to talk about. I could genuinely write a 40 page paper on this.

[charlikesboba]

SEPTEMBER 1ST 1989, DEAR DIARY

HAPPY HEATHERS DAY!! 💛♥️💚

also HAPPY 8 YEARS OF HEARTSTOPPER!!

aand HAPPY BACK TO HOGWARTS DAY (but sang by darren criss in a very potter musical)

[othsource]

[wren-is-a-wreck]

I want to play them so bad you don’t understand