#say goodbye it's important

[beyourselfchulanmaria]

人與人之間無論如何都要說道別，我們就連對待凡是有生命的動物，即便是出門遠行，都會記得要摸摸牠們說再見的，除非是不可抗拒的意外。

你知道嗎? 沒有機會說「道別」，是我今生最深的痛和遺憾 ...

如今，我只要睜開雙眼下意識的凝視著光時，就會想起你... 以及我竟是如此的遲鈍和愚蠢。

Lan~*

[poorly-drawn-mdzs]

Soup solves everything.

[secondbeatsongs]

going through some old logs, and I need you to understand just how truly unhinged early 2010s RP omegle was.

genuinely you could stay on there for hours with just one person, hashing out complex traumatic backstories, drawn-out love confessions, detailed action scenes...collaboratively describing graphic violence, past abuse, comfort, hurt/comfort, hurt/no comfort, any number of sex acts...and then one of you would be like, "oh haha it's 2AM! I have to sleep :(" and the other person would say, "omg saaaame. :( gnight!!!" and then you'd exit the chat and never speak to each other again, and this was. fine.

you could just spend an entire evening shoving your wretched, bleeding soul into a chat log with someone you'd never meet or learn the name of, achieve some form of emotional catharsis, and then go about your day or night like this was an average way to spend your time.

I'm really normal about this, actually

[aurorangen]

It has been a while since Renee and Robbie last saw their grandparents, so they visited Evergreen Harbour to surprise them! Travelling to far places was harder for Felix and Maya since they were getting on in their years, so they were overjoyed to see their grandchildren AND great-grandchildren ❤️

[bixels]

I'm not getting into The Giving Tree discourse...

[wearenotjustnumbers2]

A dog looking for his owner who's still under the rubble after Israel bombed his house. I hope his owner is alive 🙏

[hazelnutnebula]

and you'll always be the silly guy of all time 🧡🌻🐶

[sgtpeppers]

"You are my love, you are my song": Paul & Love As A Duet:

One of my favourite things Paul does in his work is use the idea of singing a song with someone as a metaphor for love or a relationship, so I've catalogued the main instances I think this occurs below!

Now, Paul writes lyrics about music/songs a lot (because he's Paul, he lives and breathes music), so this isn't every song that he references music or even references music in terms of a relationship, but the ones I felt explicitly have a 'loving someone = making music with them' lyric.

Starting in the late sixties we have three songs where there are lines about performing alone, or hearing someone else's song but not necessarily being a part of it.

So let it out and let it in, hey Jude, begin, You're waiting for someone to perform with

Hey Jude (1968)

And when at last I find you Your song will fill the air Sing it loud so I can hear you Make it easy to be near you

I Will (1968)

Far away my lover sings a lonely song And calls me to his side When a song of lonely love invites me on I must go to his side

Goodbye (1969), written for Mary Hopkin

Once we get to Paul's first solo album, where he's actively bringing Linda in on his music, we have this line about singing songs alone in the past tense:

I used to ride on my fast city line Singing songs that I thought were mine alone

Man We Was Lonely (1970)

But in the present tense, has someone to sing his songs with:

Maybe I'm amazed at the way you help me sing my song

Maybe I'm Amazed (1970)

On Wild Life, we have the song that captures the idea completely, Paul and Linda singing to and with each other, both of them simultaneously the song, the singer and a recipient of a love song:

You are my love, You are my song, linger on, You are my song, I am your singer. You are my one You are my own melody, You are my song, I am your singer. Someday when we're singing We will fly away, Going winging. Sing, singing my love song to you. My song is sung, When day is done harmonies will linger on, I am your singer, I am your singer, Singing my love song to you.

I Am Your Singer (1973)

In Venus and Mars, we've got a little nod to the same idea, although perhaps less viewing love as a song to perform together, but certainly tying the idea of love and a song together.

My heart cries out for love and all that goes with loving Love in song, love in song

Love in Song (1975)

Then the idea seems to disappear, but reappears on Tug of War with Here Today, a song we know is about John. This isn't necessarily in the same vein as the Linda songs, but the very literal reading is about the importance of singing with John and keeping someone's memory alive in a song.

And if you take that metaphor of love as a song, the duet can still be kept alive if Paul continues to sing for the both of them.

What about the time we met? Well I suppose that you could say that We were playing hard to get Didn't understand a thing But we could always sing … And if I say I really loved you And was glad you came along Then you were here today, For you were in my song

Here Today (1982)

From here on out my thoughts are more scattered, because I think primarily this idea is something he ties to Linda and John. But there are a few more interesting lyrics I think it's worth adding here.

In Press To Play, we've got a reference to 'our' song, which again, alludes to the idea that love is a song created between two people:

If you should ever feel that something's wrong, I'm going to want to put it right, To bring a happy ending to our song, I'll carry on believing in a love.

Only Love Remains (1986)

On Flaming Pie we have him reflecting on how songs were something he and the other Beatles could come back to, this idea of music being a thread that ties him to other people.

But we always came back to the song We were singing At any particular time

The Song We Were Singing (1997)

On Driving Rain he reflects on a time where he was free, his heart was 'singing' and he was doing that with someone else:

I well remember when my soul was free My heart could sing, so could we

Tiny Bubble (2001)

And then this idea of him constantly reaching out, singing a song and waiting for someone else to join in:

If you love me, won't you call me I've been waiting, waiting too long In my soul is constant yearning Always singing, singing this song

Anyway (2005)

I'm not really trying to make some big point here, I just love this motif and especially the ways I think John, Linda and music all tangle together in his head. I'm not usually one for digging into every little line of a song for some sort of hidden meaning, but I do think it's interesting to note when patterns emerge in a body of work.

If anyone's got an additions/thoughts/corrections (or has written a similar post with a more coherent point), please do share, I love chatting about this stuff and reading other people's thoughts!

[splatoon-edits]

GUYS WHAT IF I CRIED OVER THE FINAL FEST ANNOUNCEMENT IS THIS A SAFE SPACE

[penofwildfire]

Geo and Bonzle's relationship is something so nebulous and not entirely definable but so, so incredibly loving. Less father and daughter and more older brother and teen sister that he feels responsible for. She showed up when he was at his absolute lowest, barely keeping himself alive as day after day after day of agonizing loneliness went by. She knew that loneliness all too well and they found so much comfort in eachother. And even as their family grew their dynamic never really changed. I just. Hrghghhghghghgghgghgghhfjfjfhfjgjghggjjghgh 😭💕💕

[tomoyoo]

here’s my little comic that i won’t finish any time soon T.T laimar…

i frantically sketched the first image without minding panelling or any order whatsoever, and even after composing it in two pages it ended up looking cramped. I don’t know when to stop with the small text. aaaand the second image is the winter outfit i designed for marcille ^_^ i gave falin the sweater i was wearing that day haha.

[leverage-ot3]

okay I’ve seen a lot of posts about sterling just being crowley and. guys. the implications just hear me out 😭😭😭

bending lore slightly here BUT let’s say crowley’s body was once inhabited by a human and crowley is possessing the body (maybe he kills the initial inhabitant bc he doesn’t care)

but he still has the guy’s memories. he doesn’t bother keeping up appearances with his ‘ex wife’ because he is too busy building up his hell empire. BUT for some reason he can’t quite identify, he still feels something towards his ‘daughter’. he lets the divorce happen and doesn’t feel the need (or desire) to fight for custody, but he can never quite forget her, to cast her out of his mind for good

some hijinks ensue with the leverage team. it’s mostly because even a grind culture demon wants some off time every once in a while, and for him the insurance investigator stuff is more of a hobby. interacting with the leverage crew is very low stakes for him, and honestly, quite amusing. they aren’t on his level power-wise, but that ford character gives him the mental exercise he hasn’t experienced in, well, he can’t even remember

he can feel their frustration and anger when they learn he has become employed by interpol and feeds off it. it’s great, and relaxing in a way he is never able to achieve while conducting hell-related business

one year he gets wind that olivia is in a really bad situation associated with his ‘ex wife’s’ new husband. he’s selling vital hardware to terrorists, and while that might actually be the kind of chaos he would normally support or be entertained by as the king of hell, something feels wrong about letting olivia stay anywhere near that man

he calls upon the body’s adversaries. he wouldn’t admit it, even under duress, BUT he feels slightly fond of them. nate for the three dimensional chess they play, sophie for her ability to charm and disguise, parker for her chaos and slightly unsettling nature (it’s the autism swag and being bad with human interaction but he doesn’t know that lol), hardison for his unapologetic intelligence and eliot for his hardened violent past and take-no-shit persona (he’s fun to tease)

they perform exactly as he expected, right into his carefully crafted plan. and then olivia is under his care and things get more complicated. he keeps her FAR, FAR away from anything related to the supernatural (heh). no one can find out about her, ESPECIALLY not those imbecile hunter brothers (if for nothing else than the embarrassment in revealing he has a weak spot)

not sure how to work it into this post but I also want to add that somewhere along the way he develops feelings for nate and sophie. the frame up job is near and dear to my heart and you can’t convince me that isn’t fighting as flirting behavior. his interpol persona is more of a side hustle so to speak, but he finds it fun (relaxing, even) to fill that role. there aren’t any obligations of other demons, bothersome hunters, or anything like that. nate and sophie are low stakes, except, they aren’t, really. they make him feel things he can’t ever really remember feeling. his heart beats fast when sophie sat in his lap and cradled his face, his hands sweat when nate gives him that certain smug look. he’s exasperated by the way they can run circles around him like no one else has ever before. they annoy him and get under his skin in a way no one else can and it’s infuriating. but also not, at the same time. maybe he likes it

and then the long goodbye job happens

hear me out and suspend your belief here for a second, because I can’t remember if crowley supernaturally knows when ppl die/are dead or not.

so nate is in interpol custody and the interviewer is obviously out of her depth. (most people are, when it comes to nathan ford.) he walks in and pours the man a drink, but he’s fuming. somewhere along the way he came to care about the team. hell and suffering is literally in his (official) job description, but he can admit (only to himself) that he admires what they do. it’s not for him, not anything close to where his passions and interests lie, but he respects their drive and purpose. he is also aware enough to acknowledge that they are a family, a group of misfits that never belonged quite anywhere except to each other.

and nate fucking blew it up, ruined it, because his vice is being so obsessed with the end game that he is apparently willing to let his team, his family, the people that anchor him to reality, die because the ends supposedly justify the means.

not this time. not to sterling crowley

he is enraged. he can admit within the confines of his mind that he cares for nate, for sophie, even for the other three (though nate and sophie have somehow made it a hierarchy where they are more important to him. which he will dissect later in private. maybe.)

nate let them die, he let sophie die, and for what? the black book? hell below, crowley would have made things easier somehow, if he knew that this was where nate’s sights had lied. he would have prevented this somehow. he wants to have prevented this. he doesn’t want any of them dead and is too afraid to check and verify because that would make it real. the idea of sophie (or any of them) somehow making it to hell instead of heaven would probably break something in him he might not be able to reapir fully.

he yells at nate- he’s angry. hellfire burning in his heart because everything is ruined. the deaths aside (however hard it is to set them aside in his mind), nate will not recover from this, not ever. this will be the start of the end, he is sure. a miserable, guilt-ridden existence where he drinks himself to death and nothing will save him. it plays out in crowley’s mind in a thousand different ways that are beyond painful to conceptualize, even in theory.

the story starts to unravel and there is a game afoot. a solemn, miserable, infuriating game because the con is still in session because parker is alive and in the building- which sets another fire alight in his chest. ‘parker even know you got hardison killed?’ he rages for her grief when she finds out. he knows it will double when she finds out eliot has perished, too, because he isn’t fucking blind.

but nate is a brilliant man, lest he forget too quickly. they are all alive, and somehow still the entire crew slips through his fingers. he’s not even angry (he never would have been- he doesn’t actually try too hard to catch them. it’s about the game, not the consequences). he lets them keep the black book because he’s fucking exhausted and honestly, they more than earned it.

‘now we’re even. tell sophie to drive carefully’. they will never be even, not really. crowley would never admit or agree that being human is the superior state of being, but that have made him feel human in a way he doesn’t actually mind. they keep him on his toes and match him in a way unique to them, they remind him that there are other things than the realm of hell. not necessarily bigger than hell, but maybe just as important in a different sense.

watching the van drive away, something inside him settles. when he walked into the interrogation room that day he thought this was the beginning of the end. it’s not the end at all, not an end to anything. it’s a continuation of their story. maybe, he thinks, a beginning to a new era in it

[agentark]

in the span of maybe an hour, clara oswald goes from, "I already know - don't say it." to, "people like you and me should say things to each other" and I'll never get over it

she literally gets pulled out of time the moment before her death and learns he's been clawing his way back to her for 4.5 BILLION years?? Just to save her??? I would also suddenly and urgently have words

[trickquestionn]

Thinking about Tim Stoker hours. Thinking about Sasha James hours. Thinking about TImSasha hours. Sobbing uncontrollably hours.

[castielsprostate]

genuinely though if they continue venom without tom hardy, or without eddie brock, i will blow myself up and not in a good way

[fire-in-my-woods]

So often in media, when abuse is talked about, the little boys in the household are shown to be combative - the "protector" of the family (an utterly depraved and insane idea). What makes Simon's younger self portrayal so special to me is that he's none of these things as a child. He was scared, timid, because he was just a kid in a horrifying situation. Being a male should not strip you of the right to involuntary responses that come with being abused.

This is not to say that the former example does not exist in the real world, because it very much does - it's just usually the only example of a young boy in an abusive household. Though the themes itself are not pleasant, I am incredibly happy to see representation of the quote-on-quote "softer" side of men who faced abuse growing up.