#so I've seen quite a few

[tuttle-did-it]

You know, it's genuinely sad to me that aging favourite character actors no longer have any fun murder-mystery tv shows to guest-star as murders on.

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[mercutio-the-velaryon]

Me when I'm having a phenomenal day seeing Mel be introduced to league and have cunty dialogue then open twitter and immediately see new fan art of Mel being cucked by Jayvik.

Let's kill the horse. I'm so tired, Finn. A day of peace is all I want.

[bumblingbabooshka]

Vulcan Fashion/Hair Insp

[butts-bouncing-on-the-beltway]

I know that people are rarely their best selves at a funeral, but do you ever just watch your family move through the process of mourning the Patriarch and have a sudden and violent and vivid understanding of Why Everyone Is The Way They Are

[josephscoat]

Tintin, his humble beginnings/introduction to the world of reporting― a bullet essay of headcanons by me, Jo.

I like to headcanon that before Tintin ever became the world-renowned, wonder-boy reporter we’ve all come to know, he started out as a paperboy for one of the local publications in his municipality of Brussels.

I imagine he started young, like around 12-14 years young.

He needed the extra pocket money, given that he’s an orphan with near to none and he wants to buy nice things for himself obviously; so the adults in his life suggested he find himself a job and landed on paperboy, then *boom* the rest was history.

He actually wanted to write for the publication, but they didn’t have a vacant slot at that time so he was stuck with delivering papers rather than writing them himself.

While it wasn’t the job he’d originally wanted, he’s still happy he got accepted somewhere and was determined to do his gosh darn best at whatever he was assigned to do.

He’s just bright-eyed and excited like that.

Kid braved the sun, the rain, cranky old people who would not hesitate to beat or hose him if he came near their property and rabid dogs to deliver them papers.

In spite of this, he’s mostly happy with his newly found line of work, being able to travel around a lot and (sort of) meet new people.

He likes to look on the brighter side of things, what can I say?

Later down the line, when the pub he delivered for decided to open a literary page on their papers to stir things up and try to get some extra revenue, he’d try to submit his own stories that he’d written under a pen name.

Eventually the editorial board + staff caught on and took notice of their paperboy’s potential as/eagerness to be a writer and promoted him into field reporter.

Unfortunately the editors of his pub are really shady right-wingers― seriously; nobody in their good conscience would send an at the most, 14-year-old boy into Soviet Russia in the dead middle of winter without any regards to what would happen to him if he ever gets caught by the Russian government once he’s there.

I feel like they were lowkey expecting to never hear from him after sending him off; it’s horrifying that they’d view literal children as a something rather than a someone, that could be easily disposed of and replaced.

So imagine their surprise when the kid comes back, bruised and battered with a small white puppy in his arms, slamming a front-page worthy news story into his editor’s desk demanding his salary.

[chirpsythismorning]

Nick himself said that his knowledge is confined to the leaks prior to s4, the s4 scripts from his verified source (likely within a source) and basic knowledge most fans paying attention have been able to formulate about s5 based on what has been released officially/unofficially, trends from Netflix and common sense.

He is saying based on all that, he doesn’t think byler is happening. 

And if we think back to what the Duffers themselves shared in the 4x09 script, it literally implies Mike’s monologue worked, and that it was entirely genuine. This tells me that the script the Duffers released for Emmy consideration, is not that far off from what Nick saw for himself. 

I think it’s likely Nick got something that the average below the line worker might manage to get their hands on if they tried hard enough. A copy they know they have to water-down to prevent these very situations from happening.

Unfortunately for the Duffers, it just so happens that they didn’t scrub their watered down copy hard enough.

Unfortunately for Nick, he admitted that it’s possible and even likely that the production will release things that aren’t exactly accurate with the sole purpose to lead fans sleuthing astray, without realizing it may have ironically already happened to him. 

[northern-passage]

i've been thinking a lot about the word "representation" and what it means and how it's changed over the last few years, particularly when it comes to the writing/publishing landscape but also in movies and tv shows… and i really don't like it anymore. to be clear, of course i think it's important to have diversity in your work, i'm not saying i hate the concept of representation. but i do really dislike the way it's used now, and i really just hate the word itself

in a broader sense it's just become a marketing tool. i'm not impressed by any publisher or author who just describes their book by listing all of the minorities/identities the characters represent as if that should be enough. it feels very gross, very exploitative and disingenuous. it also really bothers me because it's always marginalized identities- which i understand Why, but it feels very othering to me (and again. Very exploitative as an advertisement). you would never list out "cishet able-bodied white man" as a character description to pat yourself on the back over. so why do it to everyone else? why insinuate that one is the "default" and the other one is "special"? (and when i say this i'm mainly talking about advertisements/marketing. i understand why people would specify about characters in descriptions with the plot, but i don't like to see an ad that's just "this book has gay people!" with nothing else)

which then leads me to my other point, which is that a lot of people treat "representation" as if it's "too hard." like "oh i don't know enough to write about that, i don't have that experience, etc" which is a fair way to feel! however… it's weird that people only say this about writing trans characters or characters of color. i'm writing a story right now with a character who is really into motorcycles. i personally do not know that much about motorcycles, so i researched what parts are what & what different kinds of models there are & what basic bike care looks like. i guarantee Most people will have to google something at some point in their writing process. so what's the problem? it also, again, feels very othering when authors treat certain groups of people as "impossible" to write, "too hard" to understand. they are just.. people. you write them as a person. and then you figure out the rest later.

and i think part of the refusal or fear to write something outside of your experience is because of the way representation is treated as So Special. these characters are So Special that they aren't allowed to be anything other than "representation." they're Not allowed to be characters with complex emotions and interesting motivations, they have to just be Trans or Gay or Disabled or whatever. they're not allowed to be people. which means, at the end of the day, we loop right back around to where we were at the start….

there is bad representation. there are depictions of certain marginalized people that are harmful and that are damaging, i'm not trying to minimize that or argue against it at all, in fact we should all be mindful of that while writing and reading. but i also think it's possible to swing too far in the opposite direction as well and put certain groups of people on a pedestal and not allow them to do anything at all but be Perfect Representation, if that makes sense.

[tennessoui]

Do you have a preference for top Obi-Wan or top Anakin in obikin? And if so, why? I'm new to the fandom and ship, and it seems that top Anakin is very popular. I've always imagined him bottoming more often for Obi-Wan, although I like to think they switch occasionally

i very much do not have a preference or an opinion on this! i read and write either - the important thing for me is that they're recognizable to my understanding of the characters and i don't see either of them as massively frail, demure, twinky, etc so that's usually the stuff i don't read or interact with (and i've moved away dom/sub stuff currently) though more power to you if that's what you like! to me, their sexual positions in bed do not make up a big part of their characters, so i really can switch between both and enjoy it all.

it's just not the interesting part of a story for me, and honestly (and i know this is controversial or what passes for controversial in a fandom lol) i don't tend to tag my explicit fics with who is topping and who is bottoming if there's penetrative sex involved - especially for longer fics because the story isn't about that in my mind. it's a very small aspect of it and the least important part

i do think i've seen a lot of conflating dom/sub with top/bottom lately and that's a trend that comes and goes like waves and also a trend i very much dislike. i definitely have stronger views on conflating dom/sub and top/bottom than i have on who should top and who should bottom LOL

[thelassoway]

Ted Lasso S02E05 Rainbow || Ted Lasso S03E01 Smells Like Mean Spirit

What does that mean?

[roaringroa]

they should make a life where you don't have appointments, work, school and scheduled events every single day for months on end

[sysig]

*chanting* Second pet, second pet, second pet! (Patreon)

[wonder-worker]

people really do not know what they're talking about when it comes to Elizabeth Woodville's social status, huh?

[namtanlovesfilm]

pro life tip: rewatching cooking crush when feeling bad will turn a shitty day into better one 💚

[monotonous-minutia]

guess who's going to see Roméo et Juliette in cinema today!!

[radio-and-the-dirt]

dude i don't really care if people ship aroace characters just please acknowledge that they're aro and/or ace. like,, aro and ace people still can and do enter into relationships of various types at times and not every aro or ace person completely lacks attraction anyway and some date even if they do, so like, ship them if thats what you want but please just be respectful.

just acknowledge that the character is aro and/or ace. do some research about what that might mean for them if you need to. treat those characters in a way that respects their identities and doesn't completely brush them aside.

im just tired. we can be in relationships. we can not be in relationships. we are still aros and aces. dont try and erase what little representation we get.

i would like to note that i see things in this way because i have never seen a 'professional' writer (like non-fanfic or not a small online creator) specify where an aro/ace character sits on those spectrums or how they actually view relationships of any type. i've also never seen any 'professional' writer's characters get to explore or express that part of themselves enough in their stories to give much better an understanding than just "not really interested in sex or romance".

if a more specific understanding of a character was provided and it meant that that character wouldn't be involved in romantic and/or sexual relationships or was repulsed by them than yeah, I wouldn't want people shipping them at all but i dont think i've ever seen that so thats not what this is about.