#the 4 of us are a happy family

[cordiallyfuturedwight]

🍲 🥖bringing you a pot of soup of your choice and a lil loaf cause bread and soup are a match made in heaven just like us (blowing u a kiss i hope you feel better soon <3)

thanks for the bowl of ramen and grilled cheese i just ate, vane!!!! <3333333

[sunshinepixels]

Move in day 🚚🏠📦

ft. another florida house from yours truly

[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.

[rebouks]

3/??? 🧡

[dykedvonte]

I dislike takes that Danse would be just as conservative in modernized aus when it's clearly shown his staunch views of things come from his time in the Brotherhood and his deep-rooted desire to belong to something with a greater purpose.

Not to mention lines that show much more open-mindedness that get overlooked for his harsher sentiments when you first meet him. Like the oppurtunity to be a part of something is why Danse fell so far into Brotherhood dogma and it doesn't negate the offense things he does but I feel like it's just lazy to be like "hmmm he'd def be racist" just so it aligns to his BoS beliefs.

[napping-sapphic]

Obviously I’d want them to do whatever makes them happiest but part of me really does hope that if i ever get married that my spouse takes my last name, not because it’s traditional or whatever but because i just really want to take my own name back and actually form a family that i love and that loves me in return out of it. I want to overshadow my past and reclaim my identity and share it with you, i want us to be so intricately tied together in every possible way i want to make a little family of just you and me where there’s so so so much love, just as families are supposed to be

[keibea]

her name is fiorella and i lubs her very much goodbye

[beachyserasims]

Geneva Island Legacy┃Chapter five┃Saw Something

~ Transcript ~

Loft build by therichantsim (Gallery ID)

Beginning / Previous / Next

[ricopop]

a bynche of self indulgent oscillo dudles ... GIGGLE 😁 @cephalonheadquarters @superbellsubways ooohhh

[amoodysim]

*click click click*

Amiyah: *sleepily* Hey, what are you still doing up?

Ali: Sorry, babe. Just getting my university application together.

Amiyah: Come to bed, we got a full day tomorrow.

Amiyah: Oh... wow, he's upset!

Ali: I got him.

Ali: Alright, let's get ready for Harvest Fest!

Amiyah: Ugh, I hope my mom isn't too much today.

Amiyah: Ugh...

Ali: C'mon, it'll be ok!

Amiyah: I guess... I think Nataly is coming over too. My mom adores her.

Ali: Oh... Nataly...

Amiyah: What?

Ali: Nothing.

Ali: Hi Mrs. Kumar, can I help out? Amiyah brought cookies and pie.

Grandma Kay: Of course she brought sugary crap... No, my niece Dylan is going to learn how to do this, since my sister doesn't cook, someone's gotta teach her.

Dylan: Are you kidding? I'm vegetarian!

Grandma Kay: A what? No, not today you're not!

Ali: Lil man, how many cookies have you eaten!?

Jamari: *munch munch munch*

Grandma Kay: No one ever helps me! Gotta set the table myself!

[sheliesshattered]

somehow, I don't know how, but somehow sewing machines always know when you're nearly done with a project and pick that exact moment to throw a hissy fit

[anxiously-sidequesting]

So I once made a funny shit post about the Young Wizard actually beaming to the Spiral at the tender age of 45 but it got me thinking of the opposite. What if the Wizard was incredibly young

Since in the game it isn't specified at what exact age we arrived in the Spiral I think it's just up to the player to come up with that part. I personally like to think The Wizard was around 7 or 8 when this happened but what if they were actually like four or five years old

Like shieeeet that's young enough where we wouldn't really remember our time on Earth very clearly right? Our family and maybe our friends but unless we had like ungodly memory powers, we wouldn't be able to remember all of the details of our original home. Like isn't it proven that human beings first gain self and special awareness at 3 or 4? Something like that

And this can open up for some sweet scenarios - little kid Wizard running up to Malorn with a scribbled drawing of him with a big smile on his face, or us and Ceren reading picture books together or clinging onto Nolan's robes as we attempt to stand on his feet as he walks like a penguin, but there's also this sad and messed up undertone that in this universe Ambrose took what was essentially a child just out of toddler stage and decided to keep them in the Spiral instead of returning them to their family

And like imagine how that would affect us. We would see it as normal at first because we grew up in the Spiral, we spent more years in the wizard world than in our home on Earth, but what if the Wizard gained awareness later on in life and actually realized what happened. Would they even care at that point because the Spiral was integrated in them at such a young age? Would they feel any yearning towards their original family, would they miss them at all? Would the Wizard be bitter about not getting to know them?

It's different when you're 7 - 10 and onwards because at that stage in your life you've more than gotten used to Earth life. You've gained awareness and it has been emotionally and mentally established that THIS (Earth) is your home. You know your parents and you know your friends and you know your environment. You will miss that when it's gone and feel it's absence because you're old enough to at least notice when you're taken away from it. But when you're still at that impressionable and oblivious stage of like 4 - 6 years old? The Spiral is all you know now. Your parents faces will be blurry, you may not even remember the details of what your home looked like. You may remember certain smells, colors or feelings you experienced when you were on Earth but that may be about it. And the saddest part about that is depending on what Ambrose and the other adults put our Wizard through, we may grow to completely forget even those essential memories. That Earth part of us would TOTALLY be gone and that would include even our parents (or other caretakers). I'm crying actually

[girlivealwaysbean]

just found out that instead of my mom my fucking shitass dad is coming home FOR A WEEK

[fuwaprince]

When somebody only uses my chosen name while putting me down, it kind of makes me wish I didn't have a name at all.

And when somebody only uses my pronouns when they try to coerce me into something, then switch back to they/them when talking about me to anybody else, it kind of makes me uncomfortable af.

I sincerely do not enjoy being labeled or referred to. Being referred to is such a negative experience for me irl.

Yet not giving people a set of name/pronouns when they ask automatically seems to make them think you're secretly a serial killer trying to cover up something?????? Or like you're untrustworthy and must be hiding because you're a Bad Person instead of just not wanting to label yourself.

Can I just please not be forced to label myself for everybody else's comfort?

I feel like that information is so personally intimate anyways like unless you know me and we're close, why do you even care? I don't think it's necessary for the first stages of getting to know somebody even though in this culture we've normalized it to be that way.

Plus if I don't give you a name then I have the opportunity to earn one. Give me a name that you think I deserve and let it be what you honor me by instead! How about that? It's probably the only way I'll be comfortably perceived since some people will change my labels as they see fit regardless. Just call me what you like, I feel like my name/pronouns have been corrupted as is

[nomairuins]

its so embarassing likee. going to talk abt a feeling you have but you already know ppl will be like Oh that sounds like depression lol and its like. well yes . i know . trust me i am so aware i am depressed . but its still like a thing ive been thinking abt and wanting to talk abt but ik itll just be like Ok hun 👍. idk idk what response i would want tho ig FNFNFNF

[sparklehoard]

The guy who offed his girlfriend in Mexico from my town got a not guilty and he was quoted he's excited to be coming home 😬😬😬😬😰