#sarah watches tv

[sarah-yyy]

oh no why do i have a bad feeling about qiyu 🥺

[agrownupgeekgirl]

So I started watching Criminal Minds a few days ago.. I'm on season 3 and if Morgan and Garcia don't get together and be super cute I will riot. That is all.

[julykings]

summer’s end

[becomingbuffypodcast]

S5. Ep7. Fool For Love

Another season, another fantastic episode 7. Often referred to as one of the most popular episodes of the series, “Fool for Love” is a compelling and attention-grabbing hour of television. Airing the same night as the Angel crossover “Darla,” “Fool for Love” masterfully brings the focus of the season back to the nature of the Slayer, while also confronting Buffy with her most human challenge yet—mortality.

Originally entitled “Love’s Bitch” after Spike’s iconic speech in “Lovers Walk,” the title, “Fool for Love” was taken from Sam Shephard’s play, focusing on themes of identity, destructive cycles, and the past haunting the present.

In an interesting repeat of Dracula’s own opinions of Buffy’s power, the show uses Spike’s past to attempt to convince Buffy that there is darkness inside of her. Yet, the episode cleverly casts doubt on the reliability of Spike’s narrative, directly contrasting and challenging his point of view. His attempt to compare his desire for death and danger to the Slayer’s nature might have some semblance of truth, but it’s not the full story.

Buffy’s ability to display self-control and responsibility with her power, while also using it for good, directly contrasts Spike’s unchecked desire for sex and violence. William’s crafting of the “Spike” persona is inauthentic and not a true display of identity as it is a direct response to his feelings of inadequacy and his desire for approval. He cannot change.

[reyswiftwalker]

What's the most painful scene of television that you have ever watched? I'll start.

[I still cry every time I see this scene]

[unbreakablemouserat]

I'm sorry if this next post is be unnecessarily unhinged and make no sense at all but...

I'm still not over the fact that the actor who plays this autistic motherfucker...

...had a cameo on a random TV show which YouTube randomly recommended a clip of a few years ago (here's the clip for reference, that also has Yvette Nicole Brown's cameo)...

...and a while later I decided to watch that TV show because I thought the scene above was funny. The show is named Chuck and it is about a sitcom-type dork having a computer on his head and now having to live a double life in the spy world, where a blonde and a tough guy are his handlers (pictured below is the blonde and the titular dork)...

...and the dork and the blonde in the twisted way possible turned out to be one of my newest favorite ships ever...

This is fucking wrinkling my brain. What kind of butterfly effect sorcery is this?

[guiltypleasure-art]

summer with his lil bestie

[timothyslucy]

wait... they killed off jj AND sarah's pregnant?!!

[amazingspidermans]

watching the last of us is just thinking "thats the saddest episode of tv i've ever seen" until the next week's episode when you "thats the actual saddest episode of tv i've ever seen" until the next week's episode when you think-

[soupforsoup]

That time of year when I need to rewatch the lost boy and die inside (pos)

[aclaywrites]

While ‘lesbian themed’ is making me laugh, this one is a no-brainer.

Carol by Todd Haynes is the best lesbian movie ever, adapted from an excellent book. I love period dramas, happy endings, and Cate Blanchett.

Tipping the Velvet by Sarah Waters. I was randomly at Borders books one evening, when across a crowded room I saw a purple book cover with two bare bottoms on it. Not being a fool, I went right over and investigated and could not believe my eyes. A book about Victorian lesbians who work in the London music halls? It may as well have been subtitled ‘A book for Amanda’. I took it home and read it in a day and it’s still the best ever.

And though they didn’t ask, Season one of Gentleman Jack is the best lesbian rep ever on tv. It came out at a vulnerable time in my life and I cried so hard at every episode, wondering if anyone would ever really love me. I’m not as strong as you think. Well, I am, obviously. But sometimes I’m not. ::swoon::

[sarah-yyy]

HOLD UP HOLD UP HOLD UP UNDER THE SKIN 2 IS OUT AND NOBODY TOLD ME?????????

[fandomloverangel]

Doctor Who (2005): Watch Order and How/Where to Watch

This is an in-progress (but mostly complete) spreadsheet of every episode and spin-off ever made for the 2005 reboot of Doctor Who. I am continuing to update and refine this, but this is almost complete right now. I made this for @blue-beauty-butterfly as they are finally watching the show, and I figured I'd share it in-case anyone else wants to see!

watch times for each piece of media (not including k9! or podcasts atm)

watch order

where to watch each thing

podcasts

the main series

torchwood

sarah jane adventures

k9!

class

how long it would take (in hours, minimal breaks) to watch the entire thing (podcasts and k9! not included)

how long it would take (in days, minimal breaks) to watch the entire thing (podcasts and k9! not included)

the third page is color coded

links I used to compile this (feel free to tell me if i missed anything (other than the books, i haven't gotten there yet))

ENJOY!

[lifewithaview]

Mädchen Amick, Kyle MacLachlan, Peggy Lipton, Everett McGill, and Wendy Robie in Twin Peaks (1990) Rest in Pain

S1E4

Cooper meets with Audrey, who confesses to leaving him the note about One Eyed Jack's. Cooper tells Truman he can't remember who the killer was in his dream, but insists the dream is a code to solving the crime.

*The episode introduces Sheryl Lee's second role, Madeleine "Maddy" Ferguson who is the niece of Sarah Palmer.

[becomingbuffypodcast]

While “Family” has several call backs to “Restless,” mainly regarding Willow and Tara’s relationship, it also heavily references “Goodbye Iowa.” A major theme of the episode, and season 4 in general, is the rejection of social indoctrination, as it prevents us from developing our authentic identity—something we see play out through Tara and her family in this episode. Not only did “Goodbye Iowa” see Tara sabotaging Willow’s demon finding spell, a subtle foreshadowing to the reveal in “Family,” but it is the episode where Maggie Walsh’s death triggers Riley’s identity crisis.

Confused and distraught, an angry Riley confronts Buffy for socializing with demons in Willy’s bar, pulls a gun on a human woman, and then begs Buffy for the truth. The episode ends with him being taken by his Initiative “family” to their hospital, and the last shot is of him clinging to Buffy’s bandana as his source of stability. Since that episode, Riley has rejected his indoctrination from the Initiative and Maggie but has not created an identity or purpose outside of it and her. Instead, he has relied on his relationship with Buffy to create meaning in his life, and thus establishing an unhealthy pattern of codependency with powerful women.

And here in “Family,” it’s no coincidence that Riley heads back to Willy’s bar as he seeks purpose through the rush of danger. And while he flirts with a female vampire, another powerful woman and the Buffyverse’s own symbol of stasis—the show intentionally moves past him, to include Tara and even Spike in the family shot—but not him.

[witchofthemidlands]

BAD SISTERS || Explode A Man