#something dumb has to happen

[lizzybeeee]

DATV explaining the 'Regret Prison'

A REGRET PRISON IS STUPID AND I'M TIRED OF PRETENDING THAT ITS NOT

TL;DR: a prison can serve as a metaphor but it shouldn't be entirely comprised of a metaphor.

From what I understood from what the game gave us: Solas has made a new prison to move the God's too - since bringing down the veil would free them from the Black City. This new prison is separate(?) from the fade or so far removed/contained that bringing down the veil would not compromise it...apparently. We interrupt his ritual, Solas gets sucked into the new prison he made, and the elven gods are free.

When Rook gets kicked into the fade they're physically there - which means it's a physical place in the fade, like how it was a mixture of physical/thought when we entered it in DAI. Which makes sense - the gods are real and living beings, they need to be in a place, there must be some aspect of physicality to it.

Alright, cool, it's a Black City 2.0 - I assume it's better defended to prevent people breaking in/out again?

NOPE.

We get there and it's a 'regret prison'?? It's tied to the regrets of those within it? Composed of regrets??? Solas had to wait for the right moment for Rook to be sufficiently 'full of regret' that they could switch places?

So is the prison tied to Solas's regrets? If so, how can Rook escape? The prison seems to work around the idea that it relies on the regrets of the person it's holding to work - which is how/why Rook was able to be trapped and later free themselves (along with whatever remains of the team apparently being able to do something on their end, not that we hear about it).

WHICH IS STUPID!

Are you telling me the prison intended to hold to megalomaniac elven gods was going to imprison them based on their own regrets? Is Solas assuming that Elgar'nan and Ghilan'nain are as self-pitying as he is? They'd break out quicker than Rook did! He made a time out corner for the elven gods to sit in and gave them an out if they reflected on their emotions/regrets or decided that they don't regret what they did. Elgar'nan, a spirit of tyranny, is not going to 'regret' his actions - he is going to justify them by telling himself and others that he knows what's best.

We can come across some of Solas's regrets in the prison if you run around a bit and explore:

Remnant of Failure - talking about the orb from Inquisition.

Remnant of Parting - talking about Mythal

Remnant of Reflection - more vague, talking about the Titans I believe.

So maybe he altered it - maybe he intended the prison to be 'locked' with his own regrets because after a millennia of having a pity party he still can't bring himself to self-reflect and look to the future. But what if Solas died? Or if his guilt lessened - would it diminish the strength of the regret prison?

We already have pre-established lore (though DATV has shown they don't really give a crap tbh) that once the being that has claimed/altered an area of the fade is slain, it's influence diminishes both in and outside of the fade. So if the prison was tied to his regrets then it would require Solas to basically live forever to keep it stable - especially if he brought down the veil and removed the one barrier that kept the world and the fade apart.

Rook and Solas needed some assistance to exit - but it doesn't seem like it was much! Solas used his dagger and Rook just...got out through a fade tear? This is Solas's 'more secure' second prison? It has a worse track record than the Black City! If Rook - who is not an elven god - managed to escape the regret prison what is to stop anyone else from breaking in and out of the prison?

And what did Solas intend to do with the blight - the bulk of which is apparently in the black city?? If bringing down the Veil would free the gods in the black city doesn't that mean that the blight would also be released?! Did he have a plan? Why does he go fully ahead with bringing down the veil at the end if the black city is still there and filled with blight?!

I get it: the 'regret prison' is a metaphor for how Solas holds onto the past and how Rook can move past their regrets and grow. He's trapped by the past - it's a prison. Cool. But this prison is supposed to by a physical place to contain the gods - not just to solely contain Solas. The mission is literally called 'A Cage for Gods'.

The Black City is an actual place that's so far out of reach of anywhere else in the fade that no mage can ever reach it while in dreams - let alone physically, which was only done once and took tremendous effort/blood sacrifices. It made sense - it was cool to see floating in the sky in DAO!

Though it's not said specifically, it's strongly implied that Arlathan is the Black City. You can see in the concept art that floating elven city is exactly the same as the black city in DAO! It's this foreboding thing just lurking in the sky - a constant reminder of the sin that led to the horrors of the blights and darkspawn. A real place with lore and history that also serves as a metaphor for the hubris and destruction of those who call themselves gods and act as tyrants -> for both the evanuris and the magisters.

I WANT TO UNDERSTAND THIS BIOWARE!

WHAT IS THIS KINGDOM HEARTS NONSENSE???!!

[please-read-the-manga]

Was thinking about an 'alternate universe' where a young Sasuke, in the absence of guidance on how to carry out his clan traditions, tries to connect to his fractured identity by spending time in the Naka Shrine and accidentally summons the ghost/spirit of Izuna who hears his cries of injustice and grief from the other side.

Truthfully, I don't know why it would be Izuna in particular, but I'm kind of playing around with the idea that his death was viewed as so unjustifiable and horrific by Madara that Madara's devastation over it prevented Izuna's spirit from properly/completely passing over into the Pure Lands. So, Izuna's spirit remains in this unaware-but-restless state and one day it materializes to answer the call of another Uchiha (who also just so happens to be an Indra transmigrant, like Madara, if we want to go there... maybe their emotions carry extra weight and power within the spiritual world) now trying to process his own unimaginable grief, this time over the death of his entire family, bloodline, and culture. Thus they become bound to one another (for better or worse) and Izuna is, from then on, always there, carried by (and only visible to) Sasuke on his journey...

Maybe they both come to believe that if they get justice for the clan (which they initially believe is by killing Itachi, 'the kinslayer') then Izuna will finally be freed and Sasuke will have done right by his family and avenged them. But really, I think what would actually be keeping Izuna 'stuck' is the plan that evolved (at least partially) from Madara's grief over his death, Project Tsukuyomi... thus their quest expands and the two then need to figure out how to alleviate Madara's guilt/sense of loss over Izuna's death and rekindle his feelings of hope in the world once more (ie. stopping the plan). Somehow, lol.

And I think Izuna would be a fun character to do with this with because there's so little we truly know about him, but so much we can infer due to his impact on other characters' actions/story events.

Idk, in my opinion there's just a lot of opportunity here for a good mix of heart and comedy, especially with Izuna as a more defined character that has a little more freedom than other characters to be molded. I also think having someone Sasuke can connect to, that's from his clan (but is also still deceased and a reminder of how alone he is, ie. end of the day Izuna is still a ghost, an ancestral relic of the now-dying clan) would have a profound effect on him.

It'd almost be like his own inner Kurama voice except Izuna provides no chakra or power amps, only scathing commentary on how much he hates the injustices of the village (and its Senju leadership) lol. Also, I like to think his reactions to all the in-universe stories about 'Madara's deeds' (which is really Obito) would be entertaining.

A sketchy comic since I like the idea so much haha:

[betweenblackberrybranches]

Hi hello im here with some more rlgl au

Moon is having an ephiphany and Y/N is screaming at an old man

Y/N was really worried that it was a paparazzi who found Sun and Moon after that scandal, but it was only Jerry.

Moon likes people who could and would kick his butt!

[triglycercule]

i love that the murder time trio all have dangerous little greetings. horror has his little hand drill thing. killer puts a knife up his sleeve and then does a little switcharoo. dust INSTINCTIVELY shoots whoever he sees with a bone. no greeting whatsoever. so just imagine how things go on a first meeting or whatever. immediately horror and killer have to dodge bones from dust and horror's like hey wtf man. mildly irritated but he just met these guys so he's willing to forgive. he's not gonna lose his cool in front of these two random ass guys even though one just tried to kill him. killer just has that dumbass smile on his face like always (but he was intrigued when dust did that. like who tries to kill someone on first sight?? he's curious now :3)

and then theyre all just standing together and staring for a moment and horror sticks out his hand. killer takes the bait but then he just points a knife to horror's stolen eye once he realizes that he got duped and his other hand is now currently being drilled into. dust didn't shake either of their hands because he could see the drill and tell that killer had something off about him in general. but he does give a tiny smile when he sees the state that the two r in rn with the drill and knife. it's an eensy bit funny in his eyes

least violent mtt interaction

[buckevantommy]

it's so wild to look at s1!buck compared to s7!buck

[chut-je-dors]

Now I'm curious cause of your tag. What did Swedish media say about the eurovision thing?

Oof yeah, here's a post detailing it ... here another... Basically they've absolutely flipped over the fact that Finnish public didn't give Loreen points at all (which I find absolutely hilarious) and suddenly started wielding such rhetoric as "the former eastern part of our kingdom" referring to Finland, which is???? like??? do I even need to say how Not Okay that is?

It might seem to some that the Finnish people are reacting to Sweden's (unfair) win and them being sore winners (which, points to them, I didn't know was possible!) with too much drama, but it's all tied to our history together. Finland has traditionally seen itself, and has been seen by other countries (Sweden included) as the sort of "little brother" to the more advanced, better-faring, glorious Sweden. While Sweden to my knowledge doesn't much care about what Finland gets up to (perhaps overlooking/ignoring us and our merits), Finland is always comparing itself to Sweden and trying to live up to it. It's a very common rhetoric and sort of, the atmosphere over here. We know more about Sweden than Sweden knows about us; we're constantly conscious that Sweden exists. Sweden gets talked about in international news; Finland, if mentioned, is often tied to - you guessed it - being Sweden's neighboring country.

We used to be part of Sweden for 600 years. During that time, Swedish was implemented as the language of the culture and the "civilised" whereas the finns living in the eAstErn pArT oF tHe kiNgDoM were seen as "wild" and "uncivilised" and just, generally a lesser people to the Swedish speaking population. We haven't been under Sweden's rule for some 200 years and STILL we can't seem to shake their influence on us. Swedish is still a mandatory language to learn at school (and I have many opinions on that, but that'd be another post). Finnish as a language has been disregarded for its whole existence. Our leading national thinkers and poets in the 19th century, who were the first ones to really push for the Finnish identity instead of us seeing ourselves as part of Sweden or Russia, wrote in Swedish. The first novel in Finnish was published in 1870.

So this is monumental to us, to have the whole word watching Finland and not Sweden. Finland has a lot of merits, especially considering how small a people we are (just 5,5mil). To have a song in our language, in Finnish be this popular, is something we couldn't have imagined. We as a people are humble to the extreme, so much that we might easily scorn anyone who is too successful (not a good thing!), and this is the first time in my life that I'm seeing the whole country rally behind someone like this. When we say "Our Jere" we mean it with our whole hearts. We're so so proud of him, everyone is, and for once Finnish people seem to think in unison that someone deserves all the praise and the success.

SO, to have Sweden in this UNIQUE moment of Finland raising its head and being "we're so amazing", with the rest of Europe going "yes you're so amazing!!", spew rhetoric like this, is just, unbelievable to me. Like I can't just believe that in the 21st century there are people in Sweden who hold up 200 year old thought patterns of our country. It's been shocking 'cos though there's always been rivalry, it's felt more... tongue in cheek. We "love to hate" Sweden over here. It's been "I hate Sweden (affectionate)". But now we find this unbelievably condescending and belittling attitude towards us raising its head, and we wonder, we thought we two were okay?? But have they always held these beliefs???

So there's a sense of betrayal in the air as well. And just, full on disbelief. And maybe we're starting to see that it has been like this all along, but we've decided to turn a blind eye to it? True colours shining through? Perhaps not... but yeah.

Sweden not looking good here!

(here's one more post that says the same that i did but was better at making it SHORT oops)

[journey-to-the-attic]

there's a moment in lesson 45 of nightbringer where mc falls off a thing (again?? is this foreshadowing?? i'm going to rule-of-three this and wait to see if it happens again) and satan tries and fails to grab their hand to catch them, but now i'm imagining the same thing happening with satan and ik except he does succeed, but it's her right hand and the prosthetic just POP comes straight off

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[hauntingblue]

Rewatching act 2.... yeah ISHA WATCH OUT FOR THE CYCLE ISHA!!!!! NOOOOO

[beans-and-shet]

Now they can be best friends

[atopvisenyashill]

my hot take of the day is that clearly the people who swallow the in universe targ & valyrian exceptionalism are being completely taken in by the exact system that george is trying to critique but also i think the people who over correct into this idea that not a single targaryen is worthy of like, our empathy or sorrow or are rightfully chafing against the structures put in place by valyrians, first men, and andals alike are also being incredibly 2d in their analysis. i feel like this happens most often when people try to make the case that andals are somehow oppressed in westerosi society on a cultural level simply bc valyrian supremacy trumps andal culture. i think this is incredibly silly to say or posit as the truth in universe because there is in fact some oppression of culture in westeros but it’s not the andals lol!!! it’s the first men, the dornish, the rhoynar/greenblood orphans, and the ironborn. there Is some level of,,,, idk bigotry/xenophobia towards valyrians but only valyrians who don’t worship the faith - people like larra rogare, who still follow valyrian gods, do face this bigotry because they’re Too Foreign, the same way someone like thoros, melisandre, taena, etc who are essosi but not from a still heavy valyrian-based society like volantis and lys, and that’s definitely important to the conversation, because it shows the Dominant Culture is in fact the Andal culture when it comes to westeros and that’s like,,, fine, and even more interesting to me to see how andals, who have been the dominant force on westeros for thousands of years, interact with valyrians, who clearly want to keep ideas of valyrian supremacy alive somehow and essentially try to get the other dominant force in westeros to buy in (which they do!). like, are these two at odds sometimes? yes! but i don’t think it’s correct to say that the andals face ~prejudice for being andals or followers of the faith either!

[comic-sans-chan]

I adore how unhinged Garak is about the people he likes, because there's this theme of them being similarly unhinged. Like that colleague from the Order in Second Skin that he had to shoot and was like, "Aw :( ...Well Anyway" about. Or like Tain and Mila, both crazy bitches, imo. Or his last remaining contacts on Cardassia who he called up in In The Pale Moonlight who were all down to raid the Dominion’s underwear drawer at the drop of a hat. Like that's what Garak is used to. He likes excitement, he likes a bit of malice, he likes some cunning. And that's part of what makes Garashir so goddamn funny is Julian is actually a bit of a cunning, malicious little shit sometimes. If you watch the series knowing Julian's an augment, these moments come up all the time where it's clear he's fucking with people for his own amusement. Taking people for a bit of a ride just to see what happens. Then ofc there are all the gross incel fuckboy moments, but. 

I just love the idea of Julian going on some insane borderline villainous monologue about something or other and Garak sitting there with hearts swirling around his head. Don't get me wrong, Garak loves Julian for his goodness first and foremost, but Julian's not perfect and I think that makes the ship so much more interesting because I can't really see Garak finding most of Julian's worst flaws anything but thrilling. We go on about Garak loving Julian's infodumping and argumentativeness, but after the augment thing comes out, I think he equally enjoys watching Julian play dumb with people and Knowing he's playing dumb. It compliments his own Just a Simple Tailor routine so perfectly. They're just normal men. Just innocent men.

[impossiblepluto]

hi this is random but since you enjoy the dynamic between jack and Mac so much I thought you might enjoy the dynamic between two characters Ty and Jack from a show called Heartland. it is a horse show but it’s very wholesome and they have one of my favourite dynamics in the whole show

Ahhh! Okay, so! A while back, probably like 4 years ago now, there was a gifset that I think was from The Curse of Downer's Grove and because I have never once scrolled past a gifset without being seized by the fatal need to drop some angsty, fic-adjacent thoughts in the tags, I rambled on about troubled teenage Mac who ends up in Jack's care on the ranch.

After the latest round of fights and explosions, Mac is looking at spending some time in a detention center. Grandpa Harry (with probably James pulling strings behind the scenes) is able to make an appeal and send Mac off to a ranch in Texas with an old friend, Jack Dalton Sr who has experience working with at risk youth. However, prior to Mac's arrival, Jack Sr. passes unexpectedly and Mac shows up about the same time Jack Jr. comes back to Texas for the first time in over a decade.

Jack has no plans to stick around in Texas after his handled his father's affairs, and he certainly isn't about to take responsibility for some punk kid from California.

Apparently there are quite a few similarities to Heartland! And I have now seen a couple of episodes. It's also sort of similar to "Bravetown" and if you check out the tag "bt in texas" on Anguish's blog, you'll probably find some gifsets the capture the vibes

Anyway, that's more than you were expecting but I should probably check out Heartland again and maybe that will spark me into finishing this idea because realizing that it's 4 years old kind of makes my heart hurt a little bit

[the-kipsabian]

[strawglicks]

Be so fucking for real my firesetter plushies got here and like an hour after they arrived i went to the mail room to grab them and they grew legs and WALKED AWAY because that package was NOWHERE to be seen . I turned the whole room upside down and asked the staff and no one knows where it is.

I think some lady grabbed it thinking it was hers bc i guess were just gonna grab packages without actually making sure the information is accurate. Ok

Hopefully they track her down and figure this out cuz thats so annoying . I spent 70 bucks and waited for months and i SWEAR i knew something was gonna go wrong the whole time and it DID . The worst part is theyre limited edition so i cant just buy them again and ill never be able to get them . All because the package evaporated ig.

Now i get mad every time i see the plushies i swear why is my luck with packages and merch so bad lately .

[risingsunresistance]

i hate the way this fandom swings back and forth on Mass Opinions every few years