#their dialogues are masterpieces

[hammill-goes-fogwalking]

Hippie Ian just waking up in a mobile bed in the middle of nowhere... Random German woman sitting there like a statue. Fluffy little Ian & fluffy little Glover doing sus bestie stuff... only in Ohio

//

The Deepest Purple:  And The Adress - P2 German TV, Part 1

Here is Part 2

[dceasesd]

funniest fucking panel 

[vi-arcanes-left-biceps]

Spoilers for Arcane S2 Finale❗❗

So, i keep thinking about Arcane's last pieces of dialogue and though they sounded kinda funny when I watched the end at the first time (in a 'really? This took 27h to write?' way), the more I think about it, the more I like it.

I think it has a ton of layers to interpret and I'm still missing a few of them.

Please forgive my multiple tangents while I try to gather my thoughts.

First, how Caitlyn finds Vi: no bandages, a glass of alcohol in her hands.

No bandages means many things for Vi: she's vulnerable -both because of what she's going through and beacuse she can allow herself to be vulnerable for the first time in the show, with Caitlyn-, and her fight is over, she doesn't have to fight anymore (Re: Ep7 Powder saying Vi fights because she's scared of losing everyone, and she has lost everyone). (Everyone but Ekko and Caitlyn, who have repeatedly proven they can fend for themselves and are leaders on their own right, I'd love to say Vi is in a point where she's able not to feel responsible for them too, though this is something I'm not so sure about). Bandages were also an important part of her character design, of herself, so this gives a sensation that she's lost a part of her identity too. Who is she, if not the big sister, the protector, the brawler?

Alcohol is another small details that just says she's not okay. We've seen her drink herself senseless for, presumably, months, in Act II, to cope with all that happened in S1 and particularly S2 Act I: accepting the loss of her sister after the attack on the council, becoming an enforcer even though she was completely against it because she still feels responsible for ending Jinx, recognising her sister again for just a glimpse and gaining faith that Powder is still there (with the realisation that she almost killed her sister -not the monster she convinced herself jinx was, her sister) falling in love with Cait and seeing her become a completely different person out of grief.... So after everything that just happened in Act III, where she saw that many people die, either strangers or friends, and where she lost her sister and father AGAIN, of course she's considering getting back to drinking. So much happened to her in the span of few months that she's considering drowning the pain away again.

Caitlyn's question: "Are you still in this fight, Violet?"

The line delivery is incredibly soft and intimate, and Cait calling her Violet is the cherry on top. She's knows Vi is not okay. She's knows she's going through a lot right now.

Caitlyn's question seeing this is really, at least, three questions:

First and clearest is a check-in: "How are you?" "Will you be okay?" "Do you want to talk about this?"

Second is "Are you staying?" Vi could leave to be alone as she did at the beginning of Act II, could go with Ekko to Zaun... I can also see an "Are you staying with me?" After everything that happens, after the little time that they've had to be together and to solve the many things between them, her asking "Are you still in this fight" can mean both "hey, are you holding up" and "Are we still together in this?"

Third would be "So, are you up to face this, solving things between Piltover and Zaun?". I know some people have criticized the lack of resolution in the Zaun/Piltover conflict. I'd argue, as much as I'd love for the class conflict to be expanded, it is not the core of the series, and both the writers and the characters know that a conflict like this cannot be solved in such little time. The series was not going to solve it. What it does is solve it's main plot and character arcs, and leave a space for this theme to have the start of a resolution. Piltover an Zaun joined against Ambessa's army, and the ending gives us a glimpse of the will to change the relationship between topside and bottom (e.g. having Zaunites in the council). It's not a perfect ending nor it is a resolution for Zaun's class struggle -I'm pretty sure that was never the intent, though I would have liked for both cities' relationship to be more comented upon in this season-, it's the opportunity to advance towards a resolution. So Cait is asking Vi if she is willing to deal with that too. "Are you still in this fight?" can also have an implication to mean fighting to make things better. This also means fighting for them to be together.

Then, Vi's answer: "I am the dirt underneath your fingernails, Cupcake. Nothing's gonna clean me out".

Now, I like this because it sums up to Vi saying "I'm not going anywhere" but the line itself and the delivery gives it a few more layers of meaning.

First of all, Vi is clearly not okay. She's very emotionaly scarred and considering an unhealthy coping mechanism. She looks incredibly sad. And she's deflecting with humour to the question because she's probably not ready to talk about it. So her delivery here, plus the strange joke/comparison and calling Caitlyn "Cupcake" (which she's only done when she's teasing her in a flirty or funny way or deflecting the conversation by doing so) is telling Caitlyn that she's not okay right now, but that she isn't going to leave. "

I interpret "Nothing's gonna clean me out" as her basically saying "I'm tough, I'll get through this" to Caitlyn's "How are you?" and saying "You're not getting rid of me" to Caitlyn's "Are you going to stay?"

Furthermore, calling herself "The dirt underneath your fingernails" has an obvious implication about her being a Zaunite and Caitlyn being from Pilotover. I've seen some people saying this is insulting to Vi's character and to Zaun's storyline.... I don't think so at all. Yeah, I can get to see a layer of self-depreciating humor, but for me this is Vi using her humour as well to reinforce herself and her identity as a Zaunite (which arguably she left aside/lost sight of during Act I) while also teasing Caitlyn for being a topsider. I like to interpret this as Vi saying "Yeah, Piltie, I'm sticking with you and I will keep bothering you". The tone and calling Cait "Cupcake" reinforces this as a tease as well. Reinstating her identity as a Zaunite also gives insight on Vi's position on the Zaun-Piltover new relationship: yes, she's willing to help out manage this, always from the position of a kid from the Lanes.

Zaun and Piltover are also stuck together after the ending - they've fought together against a common enemy and that has also forced Piltover's elite to sit and listen to Zaun's demands. For sure Piltover's aristocracy still has to get their heads out of their asses but this is how I like to read the phrase in regards to Zaun-Piltover, layered upon what Vi is saying: I am the dirt underneath you = I (Zaun's state and problems) am a consequence of your (Piltover's) actions and I am not going anywhere. (You will have to listen).

Anyways, lots of rambling and I'll still be missing stuff!

Another thing is, native spanish speakers as I am use the phrase "Nail and flesh" to say that two people are inseparable, and this has enough similarity to that for it to feel like Vi is also saying they are inseparable. So yeah

[chansoooo1-blog]

Ik the bear is really good show and there's really a lot of things you can commend them for but can we just take a min and appreciate the fact that Christopher storer might have actually revolutionized romance as a genre if sydcarmy do end up endgame...

[curiositymemes]

STICK SEASON: WE'LL ALL BE HERE FOREVER.

taken from the 2023 album by noah kahan. trigger warnings for mental illness, trauma, medication, references to suicide, and the exquisite agony of life in rural new england. feel free to change wording and pronouns and provide context as necessary. do not add to this list.

northern attitude.

how you been? 

you settled down?

you feelin’ right? 

you feelin’ proud?

you settle in to routine.

what does it mean? 

i’m not how you hoped.

you’re gettin’ lost.

scared to live, scared to die. 

you’re feelin’ lost.

stick season.

you must’ve had yourself a change of heart.

now i am stuck between my anger and the blame that i can’t face.

it’s half my fault, but i just like to play the victim. 

i’ll dream each night of some version of you that i might not have but i did not lose. 

i thought that if i piled something good on all my bad i could cancel out the darkness i inherited from dad. 

i miss the way you laugh.

you once called me forever now you still can’t call me back.

that’ll have to do.

my other half was you.

i hope this pain’s just passin’ through, but i doubt it. 

all my love.

how have things been?

well, love, now that you mention it.

i’m sayin’ too much, but you know how it gets out here.

now i know your name, but not who you are.

it’s all okay, there ain’t a drop of bad blood.

you got all my love.

if you need me, dear, i’m the same as i was.

what i’d give to have you out of me.

i still recall how the leather in your car feels.

and at the end of it all, i just hope that your scars heal.

i swear i was scared to death.

i smiled stupid the whole way home.

you said, ‘i’ll never let you go.’

she calls me back.

there was heaven in your eyes. 

everything’s alright.

look at me and don’t you lie.

don’t you hold your head up high.

for bullshit, i do not have time.

do you lie awake restless?

why am i so obsessive?

this town’s the same as you left it.

the radio is taunting me.

i don’t get much sleep most nights.

i’m seeing you in every dream.

if only i could fall asleep. 

i’ll love you when the oceans dry. 

i was too afraid of living life in your footsteps.

come over.

it was there when we got here, will be there when we leave.

you won’t have to guess who they’re speakin’ about.

i’m in the process of clearin’ out cobwebs. 

i was takin’ the wrong meds; feels good to be sad.

my house is just barely big enough for my family.

my mouth was designed for my foot to fit in it.

i promise you, darlin’.

you won’t ever go back.

i know that it ain’t much.

i know that it ain’t cool.

you don’t have to tell the other kids at school.

someday i’m gonna be somebody people want.

new perspective.

makin’ me nostalgic.

we were kids; but that don’t make this less hard.

if i could fly i doubt i’d even do it. 

i’d probably get high and crash or somethin’ stupid.

gave me your word.

i can’t pronounce it.

no thing so sure that i can’t learn to doubt it.

everywhere, everything.

would we survive in a horror movie?

we trust everyone we meet.

we’re littered with scars from our preteens.

i wanna love you ‘til we’re food for the worms to eat.

‘til our fingers decompose, keep my hand in yours. 

i know every route in this county.

maybe that ain’t such a bad thing.

i’ll tell you where not to speed.

it’s been a long year.

orange juice.

honey, come over.

it’s yours if you want it.

we’re just glad you could visit. 

feels like i’ve been ready for you to come home for so long.

i didn’t think to ask you where you’d gone. 

why’d you go?

my heart has changed and my soul has changed.

you just asked me to hold you.

it made you a stranger and it filled you with anger.

my life has changed.

the world has changed.

don’t you find it strange that you just went ahead and carried on?

are we all just pullin’ you down?

strawberry wine.

darling, speak to me.

don’t you say a word.

you thought you were cursed?

i’m in love with every song you’ve ever heard.

if i could lose you, i would.

all the time we used to have.

the things i miss but know are never coming back. 

no thing defines a man like love that makes him soft.

growing sideways.

finally found some middle ground.

i said, ‘i’m cured.’

i divvied up my anger into thirty separate parts.

i’m still angry at my parents for what their parents did to them.

it’s a start.

but i ignore things and i move sideways ‘til i forget what i felt in the first place.

i know there are worse ways to stay alive.

everyone’s growing and everyone’s healthy.

if my engine works perfect on empty, i guess i’ll drive. 

i forgot my medication, fell into a manic high.

now i’m sufferin’ in style.

why is pain so damn impatient? ain’t like it’s got a place to be.

if all my time was wasted, i don’t mind. 

i’ll watch it go.

it’s better to die numb than feel it all.

halloween.

the dawn isn’t here, the sun hasn’t rose.

they got money to make and children back home.

i worry for you, you worry for me.

the bridges have long since been burnt. 

i’m leavin’ this town and i’m changin’ my address.

i know that you’ll come if you want.

i’m losin’ myself.

i’m seein’ my life on a screen.

i know that you fear that i’m wicked and weary.

i know that you’re fearin’ the end. 

i only tell the truth when i’m sure that i’m lyin’. 

homesick.

are you bored yet?

the weather ain’t been bad if you’re into masochistic bullshit.

this place is such great motivation for anyone tryna move the fuck away from hibernation. 

time moves so damn slow i swear i feel my organs failing.

i stopped caring ‘bout a month ago, since then it’s been smooth sailing. 

i would leave if only i could find a reason. 

i got dreams, but i cant make myself believe them. 

i’ll spend the rest of my life with what could have been. 

i will die in the house that i grew up in.

i’m homesick. 

still.

i don’t wanna say goodbye.

it only falls into place when you’re fallin’ to pieces.

you miss something that you can’t place but you can’t deny it. 

you can’t stay here.

it’s hard to face and it feels too ugly.

it’s like i’m still here with you. 

can i fix what is broken?

the view between villages (extended). 

for a minute, the world seems so simple.

i am not scared of death.

i’ve got dreams again.

there is meanin’ on earth. 

i feel so far from it.

it’s all washin’ over me. 

i’m angry again. 

the things that i lost here, the people i knew.

they got me surrounded for a mile or two. 

i found a town big enough for anything i want.

i’m not a city girl, by any means.

it still has a lot of meaning to me.

i grew up there. 

your needs, my needs.

you ain’t gotta tell me what it means.

i promise to be there this time. alright? 

you were a work of art.

that’s the hardest part.

i’m naming the stars in the sky after you.

dial drunk.

i promised to forget you.

i ain’t takin’ any fault.

am i half the man i used to be? i doubt it.

forget about it, whatever.

it’s all the same anyways.

i ain’t proud of all the punches that i’ve thrown. 

for the shame of being young, drunk, and alone.

i gave your name as my emergency phone call.

i’d die for you.

from charmin’ to alarmin’ in seconds.

i’ll let the pain metastasize.

i beg you, sir, just let me call.

let’s wait, i swear she’ll call me back.

son, are you a danger to yourself?

fuck that, sir.

son, why do you do this to yourself?

paul revere.

this place had a heartbeat in its day.

nothin’ was the same.

it just ain’t that simple, it never was.

one day i’m gonna cut it clear.

i’m not from around here.

i’ll leave before the road crew’s out. 

i’ll turn up the music and i’ll forget.

i’m not ready to let go yet.

i’ll just pretend i didn’t hear.

it’s typical, i fear.

folks just disappear.

if i could leave, i would’ve already left.

no complaints.

i thought i had something and that’s the same as having something.

i get mad at nothing.

i pull no punches, then feel bad for months.

thought i was raised better, tried to fake better.

now the weight of the world ain’t so bad.

i saw the end, it looks just like the middle.

i filled the hole in my head with prescription medication.

who am i to complain?

now the pain’s different. It still exists, it just escapes different.

yes, i’m young and living dreams.

i’m in love with being noticed and afraid of being seen.

call your mom.

oh, you’re spiralin’ again.

don’t you cancel any plans.

stayed on the line with you the entire night ‘til you let it out and let it in.

don’t let this darkness fool you.

i’ll drive all night.

i’ll call your mom.

oh, dear, don’t be discouraged.

i’ve been exactly where you are.

if you could see yourself like this.

you’dve never tried it.

stayed on the line with you the entire night ‘til you told me that you had to go.

throw a punch, fall in love, give yourself a reason.

don’t wanna drive another mile wonderin’ if you’re breathin’.

won’t you stay with me?

you’re gonna go far. 

this is good land, or at least it was.

it takes a strong hand and a sound mind.

it makes me smile to know when things get hard, you’ll be far from here.

pack up your car.

put a hand to your heart.

say whatever you feel.

be wherever you are.

we ain’t angry at you, love. 

you’re the greatest thing we’ve lost.

the birds will still sing.

we’ll be waiting for you, love.

we’ll all be here forever.

we spent so long just getting by.

that’s the thing about survival; who the hell likes livin’ just to die?

you told me you would make a difference.

it won’t be by your own volition if you step foot outside this town.

it’s all we’ve had for always.

you’re gonna go far.

if you wanna go far, then you gotta go far.

forever.

let’s drive for no reason.

you look fine in the evening.

honey, it’s starting to storm.

used to wish i meant anything to anywhere, to anyone.

i’m glad i get forever to see where you end.

i won’t be alone for the rest of my life.

i’ll meet a girl in the heat of july.

i’ll tell her so she knows.

i’m broke, but i’m real rich in my head.

when i hold her close, i might loosen my grip, but i won’t ever let her go.

[marcmorrigan]

According to the artist, when it was suggested that a smile might benefit the look of the finished portrait, Attaché Nohell reportedly replied, "I thought the purpose of this was to be honest."

Super fun commission of @waterloggedsoliloquy's OC Sicely Nohell (they/them) and their terrible, horrible, no good, very bad lusus figure Commanding Officer.

[kleptomaniask]

This is - what? You caught her in the act? Wh - we can't arrest her for submitting artworks to the gallery! Uh.. What does it say? Oh. Um. Well.

[fionnaskyborn]

People like this have made me terrified that I am mischaracterizing my favorite character by playing into his strengths and emphasizing them so much... That I'm making things "too anime", "too over-the-top", and by doing that straying away from the groundedness that made the character compelling in the first place... But I think it's better to be a fan who loves someone so much they're willing to step into goofy over-the-top showcases of strength and morals out of love than being a fake fan who only ever rags on what they proclaim is so dear to them. I dunno. I don't think I'm wrong in saying that. I'm hella insecure when it comes to my own writing, especially with this guy because I want to do him as much justice as I possibly can as a writer. But I have to convince myself that it's not too much.

[sophsicle]

Thoughts on Red, White and Royal Blue? (If you’ve seen it) and also the jegulus parallels?

cw me being a hater LISTEN i am willing to see jegulus parallels in many places but rwrb is not one of them, like seeing either of those characters as james or regulus feels like a stretch 2 me

alas, i did not like rwrb, which is a little disappointing cause i went in just wanting to have a fun time and did not have a single mote of fun (actually that's untrue Zahra was very fun)

4 m3 the things that sell this book are a) how much personality those two main characters have, Henry being the sappy romantic literature/history nerd, Alex being a literal psycho so obsessed with politics he blocks every other thought out of his brain - including any introspection about his own feelings or sexuality and the only thing that can break him out of that is a make-out sess with the british prince (10/10 incredible) b) the family dynamics, Henry and Bea, Alex and June, Alex, June, and their divorced politician parents (like that phone call where Alex rants on the phone to henry about his parents on christmas, was IMPORTANT to me as a child of divorce okay???????)

c) the politics and the whole betrayal and then not betrayal of rafael luna the movie strips all of that away, thinking that the thing that made that book interesting was two hot guys making out and like tbh that is boring 2 me. on top of that the acting was a lil rough in my opinion, the dialogue also a lil rough, and in general the way it was shot, the framing, the lighting, all felt very "sitcom" which just made it harder to like get into it or believe?

they made a whole bunch of changes they didn't need to, that didn't save time but did suck all of the stakes out of the plot which is honestly unforgivable to me

could not get through the whole movie

0/10 pardoned turkeys from me

[divinekangaroo]

One of the other things I wrote while away was brain-dump of bullet points on Lymond thoughts (as also I finished reading Game of Kings - what a bloody stellar ending, reuniting him with his mother!!!!), but without digging up my notebook, the key lingering take-away was:

This book did ABSOLUTELY EVERYTHING that all those writing guides tell you NOT to do

[suffering-and-happy-about-it]

During my four-millionth annual replay of Stardew Valley, I decided to romance Sebastian (I usually end up with Halley or Alex because I memorized their schedule and I accidentally bring them gifts on their birthdays - however, don’t be fooled - I love Alex and his story to death, he’s my #1 malewife).

Anyway, I grinded hard - poor guy has around 100 frozen tears stashed in his bedroom, along with some pumpkin soup and sashimi.

And when I finally gave him the damn bouquet, crawled out of his dungeon and went to talk to his mother, Robin deadpans “So, how are you and Maru getting along?

What?

Excuse me lady?

I love you, but you’re just finishing the second house upgrade so I can marry your son, make him move in and fuc-

[ghostlycod]

“I have this scene in my head for my fic that I really love but i don’t feel like writing all of the other stuff to get to it.”

I see this comment like 5 times a day in fic writing spaces lol

a scene that you don’t want to write is a scene you don’t want to read. don’t write stuff you don’t want to read.

me, personally: wait until the scenes that get you to that first initial scene you were excited about are just as interesting as that scene too. it won’t be the first, second, or third thing you think of. if u have a scene you really want to write, write that, and keep writing only those exciting scenes that come to you. eventually you have a million interesting scenes for your fic and they become puzzle pieces for you to arrange and then eventually the strings come together and you realize you really do have an interesting way to get to that original scene, and you’re just as excited to write it, if you haven’t already written it when you were brainstorming other scenes earlier in the writing process that you didn’t even realize could carry your story like that.

[i-just-want-to-destroy]

BLACK SAILS - XVIII.

[alienandstrange]

some of the greatest lyrics ever written btw

[too-young-to-fall-in-love]

Just Like Me

summary:

From the convenient timing to his inability to stop talking about Paris, talk of their relationship is inevitable. Still, the chasm between them remains. While Napoleon hopes to cross it, he knows he’s only good for making things worse.

Or, the ending events of Amor Magnus Doctor Est - Chapter Five, but from Napoleon’s perspective.

notes:

After reading Amor Magnus Doctor Est for the umpteenth time, I started thinking about how Napoleon would react to the events towards the end of chapter 5.

If you haven’t read the fic, PLEASE DO SO!! I PROMISE you will not regret it (although it may take over your entire life and influence your trip to Chicago, but that’s probably something that only happens to yours truly). However, you don’t have to read the original fic to understand this standalone.

excerpt:

The bitter cold runs its sharp tendrils up his spine and he can’t hold back a slight shiver. Even faced with Illya’s so-called inhuman warmth, it’s a force to be reckoned with. He knows he should move; that they either need to continue this walk or he needs to duck out. At the same time, nothing could convince him to move from this moment.

As if to root him to said moment, Illya’s arm wraps gently around his shoulders, pulling him minutely closer. He blames it on instinct, the way he immediately slides his arm behind Illya’s waist and leans closer. Illya is warm, he notes, his presence soothing and achingly familiar even if they’ve never shared a moment quite like this. He finds himself hoping it will last forever. A voice in his head is quick to retort that he doesn’t deserve it, though it sounds close enough to Victoria’s voice that he steadfastly ignores it.

“You really are warm, Peril,” he murmurs, blaming the sudden looseness of his tongue on the pitch blackness of the night sky and the way it seems to absorb his words, or perhaps the alcohol that really had no impact on him. He’s terrified, though, of the real reason: he feels safe here.

read more on ao3

inspired by Amor Magnus Doctor Est by @cha-melodius

[my-fancy-hat]

just watched someone stream first playthrough skipping mary's alleyway monologue on purpose., i feel sick