#original: only murders in the building

[incorrectx-menquotes]

Charles Xavier: Let's see if Jubilee's free. I'll call her. Or should I text? Erik Lehnsherr: Calls bother them for some reason. Charles Xavier: Yeah, I think it's a text. Charles Xavier: What sounds more casual, "Dear Jubilee" or "Greetings, Jubilee"?

[incorrectstarwarslegendsquotes]

Talon Karrde: I want you to be less mean. Mara Jade: I know you do.

[jacensolodjo]

After a mission that could be traumatizing to any soldier, even Cmdr Shepard. Kelly Chambers: PTSD check. How are we holding up? Shepard: Okay. I've already repressed it. Kelly: That's good. *pause* ...Wait, no!

[phox-129]

A hundred gay bitches on here cheered when Charles called Mabel and Oliver found family (it’s me I’m gay bitches)

[potterandpromises]

It is very funny to me that my two biggest OTPs of all time are both ships where:

They started out as antagonists to each other due to circumstance.

One accidentally killed/erased the other's loved one.

One kidnapped the other in the first season.

Then in the second season they proceeded to bond over being the only people who could possibly understand what the other was going through.

(And they're both so domestic about it!)

They each had a moment of waking up in the other's room/apartment without entirely remembering how they got there. Both in the 2x07 of their respective shows.

And after they woke up their partners made them coffee.

[cytryndor]

Buckle up people, I’m about to tell you who’s this season’s killer

It’s Donna.

Why, you might ask? Nothing up to this point actually let to her, right? Wrong!

Have you ever seen that musical, The Producers?

The Producers’ plot is really simple. There’s this guy Max Bialystock, who - with help from this other guy, Leopold Bloom - scheme a plan of how to make 2 million dollars in profit from a total and utter disaster of a play. They think of this amazing five stages of a plan, which only the first two will be useful for us.

Step One: Find the worst play ever written.

Step Two: Find the worst director in town.

So, what does it mean for us?

Death Rattle (the play) is this ridiculous murder mystery where the main suspect is a baby. It’s, it’s just ridiculous, right? Step one speaks for itself.

Okay, but what about step two?

We know that there were at least two directors signed for this play: Jerry Blau and Oliver Putnam. Now, I’m not a critic, but I do have a feeling like both of them can be seen as a disasters just waiting to happen. We’re talking about people who are either a) living in the theater cause they’re broke and too proud to go back home, b) director of Splash! The Musical (2005). Like I said, not a critic, but doesn’t seem like a money making machine for me.

Okay, but what about it? It might as well be a coincidence that it fits, right? Wrong.

There are two real life people cameos in this season - opposed to last two ones, where we got just one per each. This time, we got this silly little guy, (who’s extremely talented and funny) Matthew Broderick, and this other silly guy (who’s more famous and more accomplished than any other star cameo in the series) Mel Brooks. What do they have to do with it, you might ask?

Well, it’s time to skip to the year of our lord 2001, and the Broadway premiere of The Producers, whom were written by silly guy number two, Mel Brooks. It had an amazing cast, everyone was so talented, and later nominated for Tony’s. One of which, was this silly guy number one, Matthew Broderick, for the role of Leo Bloom. Unfortunately, he lost in his category to his co-star, our own Teddy Dimas, Nathan Lane, who’s suspiciously absent from this season (sure, he was having some other, Broadway related play gig, but hey).

And you might say, okay, they got Broderick, and what? Well, let me tell you: not every show got a chance of Mel Brooks’ cameo. I mean, come on, Broderick has an incredible filmography and stage career, why The Producers out of all of them? Why Mel Brooks?

Okay, so you might ask now, if you’re still not convinced: what was her motive? What, was it money? That doesn’t make sense! And you’d be right. I think, that her motive was something far more important to her: Cliff, her son.

Up until last Tuesday I was convinced she wanted Death Rattle to fail. I mean, that was meant to be Cliff’s debut, and if it would turned out to be a hit, he would most probably leave her - or so she thought he would, so she poisoned the cookies, and left them for show’s biggest name, knowing Ben wouldn’t resist to try them.

But now I know, or at least suspect, that that’s not the case, thanks to one scene from this week’s episode.

While in the bathroom, Donna did said to Loretta, that a mother would do everything to protect her child; now, we were meant to be focused on Loretta and her struggle, but what if there’s more to that scene? What if she wanted her son to succeed, and the show to be a hit, but sensed that Ben Glenroy was a threat to not even her, but her baby, and his Broadway debut?

This week’s episode was about mother who was able to confess to a crime she didn’t commit, just so she could protect her baby. I think that this seasons murderer is a mother, who committed said crime, just so she could protect her baby.

[harrietmjones]

I’m not sure if I’m going to continue with my fic because I feel I’m no good at writing for the show.

I’m basically having a confidence issue because there’s so many writers out there who are so much better than I am at writing (and keeping in character) and my ability to continue is very low.

I don’t post my thoughts like this usually, I quietly brew in my own anxieties before I abandon a project but for whatever reason, I’m sharing these thoughts.

This is the fic I’m talking about anyway.

I’ve got what I’ve had in mind, messily typed up on a document on my laptop and I don’t want it to be a waste but I feel like I’ve still wasted my time coming up with ideas in a fic that I feel no one likes (including myself because of my anxieties over my abilities).

I just don’t know. I’m my worst critic in everything honesty!

[incorrectgmw]

Riley: We need to go full Rilaya here.

Maya: What the fuck?

Lucas: What?

Riley: Rilaya! That’s our ship name. All of our names put into one?

Lucas: Where’s the Lucas in Rilaya?

Riley: The Lucas is silent.

[helluva-art]

Some of Q's Lore

You shall get a full explanation tomorrow

[ashley--nicole]

Anyone else get a headache trying to keep up with this show??

New OMITB video up on my channel

[vulturetime]

I do understand why a fair number of books/shows/etc that deal with the intersection of “the real world” and some fantasy element end up including cops. Cause if you look at the structure of the society, who’s going to ideally come and check out complaints or take care of any serious crime that bleeds into the real world? cops (I don’t think this but it is the expectation of a lot of people where if you got a problem, call the cops).

So yeah, from that perspective, I “get it” but have creators considered 1. Not having copaganda if they gotta have cops at all 2. If you’re including cops cause that’d be “realistic” option, at least also make the behavior of cops realistic (this ties to the first point but whatever) 3. Don’t make corruption in the police force the result of some magic thing. I will kill you for this. 4. There are literally so many other more interesting options than cops. Please. Don’t give a shit about your local law enforcement.

[radarsteddybear]

Ooooooh, big decisions tonight: do we watch Martin Short in SCTV or Only Murders in the Building?

[jacensolodjo]

Alpha 17, about a troop review before the Clone Wars ended: Nobody saw my review and nobody ever will. Which is a shame it was some of my most vitriolic writing. Peak Seventeen.

[chaneajoyyy]

I’m finally caught up with Only Murders in The Building and just finished the first season of The Bear. So good!

[thonetsightings]

Only Murders in the Building, Season 3

[cytryndor]

ppl be like, oliver's just a funny old man, not 💅, at least not in canon

oliver in the show: