#say everything series

[stevenrogered]

Sam Reid: I ate so many of those photos. They were made of rice paper, so they stuck to the roof of my mouth. There were a few where I just shoved the whole photo into my mouth, but that didn’t work, so I had to eat it. It was like eating a sweet cake. They were stuck to the roof of my mouth and I couldn’t keep talking.

They’re saying mean things about Louis’ photos, so he’s going, “Fuck you! You took a beautiful photograph. Don’t listen to that guy. I’ll eat it.”

Jacob Anderson: I loved it so much.

[hinamie]

in spite of everything, I had fun <3

[mobius-m-mobius]

#there are two types of actors 😂💖

[nerdynatreads]

☆☆YouTube | Tumblr | Instagram | Storygraph ☆☆

book review || For You & No One Else by Roni Loren

video review ||  Poor Association – Recent Reads 003 || April & May Reads!

Oof, I’m bummed this was a bit of a letdown after the first two books in this series were five stars. Even more so, because Beckham is described in such a way that he’s just like my SO, to a scary degree, minus the religious trauma.

I really enjoyed the setup of the story and from the start, I thought these two were really cute as friends. Almost immediately, there was great sexual tension between them, but as the book continued, it felt like too much of their relationship was focused on sex. Then, the friends-with-benefits trope just wasn’t done in a satisfying way for me.

Both characters were still well done, with solid backgrounds, and personalities that jumped off the page. I liked that we were able to see how each of their experiences affected their outlook on relationships and dating— but god, the back and forth around this from Eliza. Not to mention, I understood where he was coming from, but Beck’s “I don’t believe in monogamous relationships,” was so cliched.

The final conflict could be seen from a mile away and then the epilogue showing that Beck had her name tattooed on his heart was just too fucking cringey. I also wish that Beck’s religious trauma was dived into more throughout the book rather than all at once in the final act.

3.5 / 5 stars

[roses-and-revolutions]

DC x DP Idea

After several years, Danny and Damian meet each other again at a gala. But there was no heartfelt reunion since the moment they led eyes on each other it was all-out war. Damian takes out a sword from somewhere and Danny just starts throwing hands.

The fighting is intense, and blood is being spilled (what are those glowing green specks?). They are screaming at each other in Arabic as it's easier to slip back to your mother tongue when in rage right? This makes the fight more personal.

Most people don't understand what they're saying but those who do look at the boys then Bruce. Bruce then back to the boys again. Like B, we know you're stupid but you fucked this person twice.... did you NOT see the red flags the SECOND TIME!?!?

The fight ends with Damian on the ground with the sword grazing his neck. He looks up to Danyal with the fear of god in his eyes, knowing that with one swift movement, he'll be dead on the dance floor. But Danny's eyes were cold and tired, they were dead. No spark, no sense of life in those chilling blue depths.

Calmly, Danny spoke to Damian. His voice was crystal clear, cool like a mountain stream.

"Just because you jumped into the fire behind me doesn't mean you felt the pain I did.  Your hand was held above the flames while I was being burnt in the fucking fire."

Damian begins to cry because he knows that Danny is right. No matter what he went through, it would never compare to what happened to his big brother. Even more so, when he feels long lanky arms wrap around him, a cool hand rubbing his back soothingly, and whispers of sweet nothingness entering his ears.

He cries because no matter what he does he will never be like his big brother.

[dandelionjack]

> new series release (space babies) coincided with the uk seeing the northern lights for the first time in years

> the devil’s chord coincided with paul mccartney’s long-missing hofner bass guitar being found, by a doctor who fan no less

> boom coincided with an actual meteor crash

> 73 yards is coinciding with a rise in bizarre supposedly-occult animal sacrifice rituals in britain (the folk horror part) and rishi sunak finally calling a general election (the political drama part)

> hypothesis: russell t davies has somehow managed to tune in to the universe’s divine frequency ??

> conclusion: messing with the forces of fate, cause&effect and coincidence, even if it’s for the pop culture franchise you’re showrunning, actually turns it into an egregore, but only if it’s been going for long enough (sixty fucking years to the dot) and watched by enough people (tens of millions). which it has

> ergo, postscriptum: television magick is real and is being unintentionally performed by the creators + audience of the world’s silliest science fiction show

> /jk. unless?

[benevolenterrancy]

("Always. Continuously. With increasing apprehension, and decreasing hope. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you as a corpse loves the beak of the vulture. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this." -- paraphrased from The Beatrice Letters, Lemony Snicket)

[batcavescolony]

"Why do the kids in the show know everything about Greek Myths"

Well idk if I was told my parent was a Greek God and that put a target on my back for Monsters/Titans/Other God's to use to kill me, I'd learn everything I can! To Demigod's myths are lists of ways they could die, so it's in their best interest to learn them.

[secriden]

Just going to cry again (see: my previous post about the parallels between the storage room scene and the abandoned factory scene) about parallels and juxtapositions in the store room scene vs the one in Styles bedroom:

Both these scenes have such a tone of desperation and are characterised by an overflowing of emotions, but in drastically opposite directions.

(Note, some of what I say in this post directly relates to concepts and themes I talked about here, so it may not wholly make sense without that context.)

The scene in the storeroom is filled with frustrated desire. Fadel kisses Style because he wants Style's body and also wants to take his frustrations at Style out on his body. He doesn't need to look Style in the eye (and in fact very intentionally only does so only in small snatches) because this isn't about a connection as much as it is about a release. Fadel's kisses come fast, hard, and are intended to bruise more than to adore.

But episode 5's scene is filled with much more quiet and tender sort of desire. Style is kissing Fadel so much more slowly and purposefully. He keeps looking back at Fadel, checking in to see how he feels and whether Fadel is enjoying it. Everything Style wanted in Episode 3, he now gives to Fadel here, pours the secrets of his knowing and choosing Fadel anyway into the way he presses his lips onto Fadel's skin. His kisses linger, they carry a weight but are not gentle, and contain meaning that Fadel's kisses couldn't in Episode 3 because in all honesty they were relative strangers back then.

There's also the way there's such a ferocity and carelessness in the way Fadel starts the encounter in episode 3 that is juxtaposed beautifully by the slow, tender, almost hesitant way Style slides his lips onto Fadel's. Both of them are in such different headspaces, between these episodes and its especially evident in the way they care so much more about the other person's comfort and how intentionally they showed that to the audience.

There's hunger present in both scenes but what this hunger is focused on is so drastically different. In the storeroom, they're both mainly focused on a physical release; its primal and visceral but lacked emotional resonance. Fadel gives Style what he knows Style wants (that hint of danger, with the hand on his neck), but its not because he really cares about what Style wants on anything more than a physical level. In Style's bedroom, however, Fadel is drunk (intentionally and by his own design) and desperate to open himself up to Style on an emotional level. Meanwhile, Style wants that desperately too, but knows that Fadel shouldn't because of his own terrible secret. So this kiss is what they both will allow themselves - an honesty and a hunger for this deeper connection they can only share in act but not in words.

In the storeroom, Style wants Fadel to want more than his body but knows (or thinks) he can't push for it yet, so he remains passive, lets Fadel do whatever he wants, lets him turn and shove and place Style how he wants because at this point, this is all Fadel will give him. Here, Style is passive in spite of what he wants. But in the bedroom, Fadel is passive because it's what he wants; he wants to let Style do whatever he desires to and with Fadel's body. He wants to lay himself as bare as he possibly can, which is only physical, and so he does.

And because the encounter in Episode 3 lacked that emotional connection, the focus is merely their respective releases. There's a sense of two people trying to find pleasure and 'finish' while remaining emotionally disconnected despite actively having sex with each other. Because in some ways, they didn't really need each other in that moment to get there (there's actually a lot of truth in what Fadel says about it being easier to just jerk off alone). In sharp contrast, the scene in Episode 5 isn't focused on the destination but on the journey. Style is taking his time and Fadel is letting him - Style is choosing to worship Fadel's body, with his fingers, with his lips, to respond to his vulnerability with gentleness and tenderness and adoration. The goal has stopped being about finding a release, it's about allowing both these men to revel in the giving and receiving of pleasure.

The point of these scenes is to show to us the ways in which Fadel and Style have grown to care for and, dare I say it, love each other in ways that are so purposefully portrayed by showing the nature of their physical connection. Because the ways in which these scenes are the same and yet so wholly different showcases how their touches are now no longer merely tied to their senses any longer, but also to their hearts as well.

[strobbylemonade]

let sleeping dogs lie / let loyal dogs die

[a-star-that-burns-brightly]

Man. I really thought I'd be able to form the rest of my thoughts on this episode before yapping away to tumblr, but my fucking god this scene. THIS SCENE. This scene just perfectly exemplifies the key difference between Teruko and David so so well. They are both bitter, broken pessimists to their very core and being, but the difference between the two of them is that David is still trying to cling onto hope. He believes wholeheartedly that the world cannot change, but he wants to believe it can so badly. He wants to believe he can change so badly, that he is willing to dig his claws as deep as he can muster into into anything that can provide him with that hope. That is why he clings so fucking hard and obsesses over the idealized version of Xander in his head to an almost possessive degree. Xander, to him, is proof that he can become a good person, that he can change. Teruko gave up on being a good person the moment the killing game confirmed to her that she is fated to suffer. She gave up on having hope the moment the ones she considered her friends nearly sent her to the grave. And because of this, she cannot under any circumstances understand why David clings so hard to the idea that Xander was a good person. She will never understand him, just like he will never understand her.

[khaopybara]

can you hurry up and get this done? once their boss gets arrested, this will end.

DUNK NATACHAI as STYLE SATTAWAT episode 6 of THE HEART KILLERS

[lazzarella]

Joong's acting is really blowing me away in THK. He's playing this very emotionally reserved character, so (aside from that one adorable little smile at the market—what a polite boy) it's the subtle shifts between emotions, especially in his eyes, that I'm living for. The way he can shift from annoyed to intrigued to turned on and how vulnerable and open he looked in the sauna scene with barely engaging his facial muscles was SO good. Ugh

[vaguely-concerned]

To the ‘themes I am picking up on in Veilguard’ list, let's go ahead and add what I have a sneaking suspicion will actually turn out to be The theme:

— the world has changed and can never be as it was again.

— I have been changed and can never be who I was again.

— in this simple unavoidable truth there is endless grief and endless hope.

And I… may be getting a bit emotional about it haha. Let me show my work a bit: 

if da:o is a game about people who are already dead or half ghosts in some form (through societal forces, psychologically, functionally, literally, in body, through the joining etc.) coming together anyway to save the world from being swallowed by total nihilism and despair (symbolized by the blight) through the power of love and friendship and also this sword/potential heroic sacrifice that I found, da2 is a game about people who have lost their homes and been set adrift finding and building new homes in each other (while completely failing to save the world. also through the power of love and friendship. as well as years of petty bickering <3 we must imagine kirkwall if not happy then worth having been because the love was there the love was there and that's the only sanctifying force we can ever have in this doomed world and city of ours), and da:i is a game about old stabilizing-but-unjust comfortable lies vs. disruptive but potentially liberating uncomfortable truths, and the power of friendship to help us distinguish the one from the other and navigate through them...

folks… I'm starting to think that veilguard might be a game specifically about moving towards recovery and acceptance after trauma — about how even in this flawed, severed, scarred state, what is here right now is worth loving and worth caring for. even in an imperfect and impermanent world and self, there is worth and joy. and of course the first real tragedy — and threat — of Solas is that he just cannot find it in himself to accept this and move on, to let go of what was, the regret won’t let him go or he won’t let go of it. which means that even though on the surface it’s Elgar’nan and Ghilan’nain (and the will to subjugate and violate they represent) who are the main villains, the real antagonistic force in this story beneath that is the Dread Wolf’s despair. A despair Rook must make an answer to by the end of the game, one way or another, compassionately or with righteous fury, triumphant or pyrrhic.

The world will change again and again and so will you — BUT the crucial element is that so will everyone else who exists along with you, you are fundamentally not alone in this existential truth. all we’ll ever have is each other and my god that is plenty, my god that is enough!!! Which is the second thing Solas just can’t accept, he keeps himself separate and completely alone out of an awful mix of fear and pride and feeling himself unworthy of anything else. Rook and the player want to save the world of Thedas because it’s where everyone we love lives, Solas wants to go back to the past because that’s the only neighbourhood where he can still visit those he loved — and the person he himself was, before. A very sympathetic and human instinct/trap to fall into when touched by trauma, I think, if only it wasn’t backed by godlike power, a fundamentally oppositional personality, and a catastrophic lack of therapy to make it literally everyone else’s problem too lol. It’s varric and solas’ banter about the man on the island and where meaning in a life comes from all over again, writ large and with detail work — and the added idea of ‘what if there are also other islands out there, though. With other people on them that you could find if you reach for each other’. Rook with the best of intentions has to make choices to which there are no perfect outcomes and live with what happens — and not cut themselves off from everyone else around them even when there is regret or shame. You get back up every day and you make a life with other people doing the same and you do your best, and that’s the only victory this world will give you. In the end, that is more than enough, that is essential. And I um. I love that. So much. It’s why some of the writing clumsiness on top can’t hurt me because this thematic spine is so solid and so beautiful to me. It’s DA2 all over again that way for me personally — I forgive this story for what it isn’t and couldn’t be, and I love it with my whole stupid open heart for what it actually is. Thank you for coming to my TED-talk and goodbye etc.      

(For my fellow TLT heads out there — you know what this story is reminding me of most of all, actually? It has some big Nona the Ninth vibes down there in the deep. It’s about… the horror and unspeakable beauty that can only be found in liminality, and the role of love in making that basic fact of existence bearable. And also even more unbearable at the same time. I'm so sorry.)

[ender1821]

im a child of divorce

[chaos-theoryyy]

So there's this very old, unfinished, funny as hell overwatch SFM series on YouTube called Overclocked that I discovered a while ago and I decided to draw some of my favorite funny screenshots

Hanzo and Cassidy both being fucking dumbasses / comic relief is so Relationship Goals™

There's also these redraws from ep 3 where the series randomly switched genres from lighthearted comedy to angsty horror for some reason

Though I LOVED the Reaper Sombra father daughter angst