#then after that i lost access to netflix

[livvyofthelake]

joel mchale in the american housewife finale btw. as cooper's dad that's crazy.... AND jim rash is still here playing that waiter who sucks at his job and is a huge cunt <3 i miss community....

[julymusings]

Jason is the type of person to put on some shitty romance movie only for his date to fall asleep and for him to get strangely invested.

are you still watching?

i saddle up my horse and I ride into the city. i make a lot of noise 'cause the girls they are so pretty. riding up and down broadway on my old stud leroy, and the girls say...

or; 3 times Jason Todd gets hooked on your television choices [3.7k]

jason todd x fem!reader; this is so real...and so clever!!! i LOVE the concept. i did get a little carried away and lost the plot unforch...pt3 is just a sex dream ab cowboy!jason so. also I apologize for taking forever to respond. tw...klance mentioned💀 & suggestive but not explicit. and i do bash on voltron in pt2 a little but it's all in good fun🫶i did my time with them divider

i.

“Baby, I love you, but if you don’t pick something soon I’ll call Dick in here to entertain us with his backflips.”

“Oh, be quiet,” you huff. Though as you scroll, once again, through all the options on Netflix, you fear his threat may be serious.

You reach the bottom of the page, having found nothing. You peek at Jason from the corner of your eye and hover the cursor over the ‘Back to Top’ button.

“No.” He reaches to grab the laptop from you, but his injuries hinder his usual swiftness. You shriek in objection and roll away to the other side of the bed, computer held tight in your clutches.

“Babe.” He groans. He tries to reach across the bed to you, but his grasp falls short by mere centimeters as you frantically begin another scan of the site.

“I will find something, I promise!” You say. “Just one more minute!”

He rolls his eyes. “You said that ten minutes ago. And I’m the one who’s injured, shouldn’t I get to pick?”

You spare him a glance, pondering over his wrapped foot elevated on a pillow, and the bandages around his torso. His arm has fallen flat on his bed, having given up on its attempt to catch you. That alone should guilt you into saying yes; his childhood bed is just shy of too small for his adult self, so being unable to reach the other end speaks to the severity of his pain. And to add salt to the wound, you know he isn’t exactly fond of staying at his father’s house, but he is in no shape to recuperate alone.

“I would say yes, but you don’t know any good shows! All you watch is Diners, Drive-ins, and Dives.”

He scoffs. “I thought you liked that show!”

You scoff back, imitating him. “I did. But a person can only stand so much of Guy Fieri talking with his mouth full.”

He quiets, probably searching for a rebuttal, but you can’t imagine he’ll find any. You use the opportunity to resume your search unimpeded. 

After a few minutes, you perk up. “Ooh, they added New Girl on Netflix!” You scoot back over on the bed to his side, satisfied with your choice.

“What is that?” Jason asks.

You whip your head to him. “You don’t know New Girl?”

He pushes a stray hair behind your ear, eyes narrowed. “Should I?”

Your eyes flit to the computer screen, then back to him, and you sigh. “No, I guess not.”

You’re about to press play on the first episode but stop yourself. “Do you want to choose? You’re already hurting enough, I don’t want to torture you with this too. Besides, I’ve seen it, like, a million times anyway.”

“No, it’s okay.” He turns the computer towards him and presses play. “I don’t need any of my siblings barging in and catching me enjoying Guy Fieri. I’d never hear the end of it.”

You titter at his remark and set your laptop in the middle of you, a little farther away so you don’t have to crane your neck to see the screen. He lifts his arm to drape it around you but struggles with raising it past shoulder level. You meet him halfway by ducking underneath his arm and settling it over your shoulders. He kisses the top of your head in thanks.

Leaning against his chest, the rise and fall of his breathing is too hypnotic for you to focus. Paired with the warmth of his skin, bare so as not to obstruct access to his wound dressings, you are quickly lulled to sleep.

It must be several hours later when movement against you disturbs you from sleep. The room is almost pitch black, save for the dim glow of the computer, still on and resting on your legs a few feet away. The air is thick with late-night silence, and fighting against the heaviness of your eyelids is so laborious that you have to use your hand to pry them open. Jason is squirming next to you, hand outstretched, low huffs of pain slipping from his mouth.

A shot of adrenaline courses through you and you stumble into action.

“What happened? What hurts?” The laptop tips off your legs and falls to the bed, landing on its side as you scramble to your knees and face him. “Should I get someone?”

“What? No, I— I’m fine, why?” He squints at you through the darkness.

“You—” Your throat catches and you take a deep, steadying breath. “It sounded like you were in pain.”

“No, honey, I’m fine. It’s okay. You can go back to sleep.” Jason takes your wrist and gently pulls you back into his side. You don’t budge.

“Then why were you moving?” You scan him for any signs of a worsening injury. Downplaying his own pain is not something you can put past him, unfortunately.

“I…” His eyes look past you for a quick second. He swallows. “I wasn’t,” he says, unconvincingly.

You narrow your eyes at him, then turn around to see what he is looking at, despite his (false) reassurances. Your laptop, still on its side, lies awake and open to the Netflix website. You pick it up to get a closer look at the screen. The player has gone dark, and overcast in white lettering; ‘New Girl: Are you still watching?’

You turn back to Jason, dumbfounded. “You risked hurting yourself…for this?”

Now adjusted to the darkness, you can see his cheeks tinged with pink. “No?”

“Jason.”

“You’re the one who put it on!”

You check the clock in the corner of the screen.

“It’s three AM, Jay. You need to sleep if you want your body to heal.” You argue.

“It wasn’t on purpose!” He defends. “I can’t sleep sitting up, and I need help lying down.” he fails to meet your eyes as he says this.

You cross your arms, tilting your face to catch his gaze. “And what am I doing here?”

“I didn’t want to wake you up,” he mumbles.

You just stare. It takes fifteen seconds for him to break.

“Fine. I was enjoying the show. I wanted to keep watching. Happy?” He punctuates his statement with a shrug but groans through a clenched jaw, remembering the injuries to his upper body.

“Okay, just—” You sigh, pinching the bridge of your nose between your fingers. “It’s too late for this. Can we please go to sleep?” You don’t wait for an answer, shutting the laptop and placing it on the bedside table.

He leans off the headboard so you can help him shift his body down the bed and lie flat, and you lie down next to him.

“Comfy?” You ask.

“Yes.”

“Need anything?”

“No.”

“Okay. Goodnight,” you whisper. “I love you.”

“I love you, too,” Jason says quietly.

You snuggle into his side. It’s quiet for a few minutes, but you can tell by his breathing pattern that he’s still awake. He whispers your name into the darkness, hoping you’re still awake.

“Yes, honey?” You answer.

There is a beat of silence. Then, “When do Nick and Jess get together?”

“Go to sleep.”

ii.

Jason leans against the kitchen counter behind him, hands in his pockets, as he watches the microwave dish spin in a slow circle. It whirs under the yellow lightbulb, the flat paper packet puffing up among raucous popping. With sixty seconds left to kill, he searches the cabinets for a large enough bowl to fit the family-size packet of popcorn, as well as the various add-ons you adore.

The first time you invited Jason over for a movie night, in the beginning stages of your relationship, he looked on in wonder as you combined the grocery store’s entire snack aisle into one salty, sugary, buttery abomination in a jumbo Hello Kitty bowl.

“How do you even come up with something like this?” He had asked, ripping open the bag of pretzels as you emptied the fresh batch of popcorn into the bowl.

“Wait!” You stopped him just before he could pour the pretzels in. “Sugary stuff first. While it’s still hot. Then it gets all melty and good.” You dumped an entire bag of mini marshmallows, caramels, and M&M’s in, and gave it a few stirs. “And to answer your question, I was in high school and experiencing intense munchies.”

You gave him the OK to add the pretzels, so he did. “I envy your dentist,” he said, and you stuck your tongue out at him.

Now, with plenty more movie nights under his belt, you trusted him enough to assemble your party mix on his own while you select something to watch.

The microwave beeps. As he rips open the popcorn bag, you yell from the living room.

“Hey, what about The Bourne Identity?” You call out. “Have you—? Wait.” You cut yourself off.

“What’s it about?” He yells back. You don’t answer. “Babe?” He calls again.

“Never mind! I’m gonna keep looking!”

He adds the sugary snacks first, stirring them until they melt, just how you like it. He’s tearing into the bag of pretzels when he hears you shriek.

He drops the bag and bolts to the living room, pretzels scattering all over the counter and floor.

“What happened?” His eyes bounce around the entire room, scanning for any threat.

He’s unsure what he expected to find, but it was a tad more perilous than you simply sitting on the couch, staring open-mouthed at the TV.

“Uh…nothing. Sorry.” Your face flushes. The remote is still raised and pointed at the screen.

“Vol…tron?” Jason reads from the title sequence that plays in the preview window. “Is this some kind of anime?”

“No…sort of, maybe,” you say. “It doesn’t matter. I'm just surprised to see it is all. I loved this show when I was younger.”

“Is it any good?” He asks.

You look to the side, thinking about it. You settle on: “Define good.”

His forehead wrinkles, mouth falling slightly open. “Did you…enjoy watching it?”

“Define enjoy.”

“Okay, forget I asked.” He sighs and goes back to the kitchen.

When he returns a few minutes later, floor pretzels in the trash and counter pretzels swept into the bowl, you’re already watching the first episode.

“This your choice?” He asks. You take the bowl in your lap and he settles down next to you, his arm wrapping around your waist.

“Definitely not. Just wanted to reminisce until you got back.” You frown at the bowl. “Where are all the pretzels?”

He chuckles. “That’s what you get for screaming. Dropped ‘em on the floor.”

You pout. “I didn’t scream. I was surprised. Now the ratio’s off, there’s not enough saltiness to balance the sweetness.”

“Poor baby,” he croons sarcastically. “Only getting a quarter bag of pretzels ‘stead of a full.”

You were going to switch the television to a movie you both liked, but you spent the entire first episode bickering about the important role each ingredient plays in, what you call, “The Party Mix Experience”. The next episode auto-played on its own, and you let it.

During the second episode, you and Jason were absorbed in a competition to see who could catch more flying popcorn pieces in their mouth (Jason), which then devolved into seeing who could dodge more popcorn kernels thrown to the face (also Jason).

By the beginning of episode three, you settled into meaningless chatter while paying half-hearted attention to the TV screen, and by the end, you were laid out on the couch, head in Jason’s lap, while you scrolled on your phone and he stroked your hair. You drifted to a light sleep, coaxed by his fingers scratching at your scalp. 

When you wake from your nap, there’s a blanket draped over you and Jason’s hand is still settled in your hair. You push yourself up to sit beside him, speaking through a yawn. “How long was I asleep?”

Jason adjusts the blanket so it covers both of you. “Um…I dunno. Three episodes, maybe.”

“You’re still watching,” you remark, as the end credits for episode six begin to roll.

He says nothing. You both stare as the auto-play timer for the next episode counts down. Next to the remote, his fingers twitch.

You purse your lips, suppressing a grin. “You know, there’s quite an online community for people who like this show.”

“Ha. Were you part of it?” He muses.

“Yup. And I deserve a medal of valor for my time in those trenches.” You kiss his cheek and stand up, stretching your arms. “I’m going to bed. Goodnight.”

“Goodnight,” he says. His voice is low and gravelly with weariness.

You turn toward the bedroom when a call of your name stops you.

“Is it just me, or is something goin’ on between the red guy and the blue guy?”

“Oh, honey,” you sigh. It’s loud and pitying. You bend down to cup his cheek and draw him in for a kiss. “I’ll see you in the morning.”

“Babe!” He yells after you as you disappear into the bedroom. “You didn’t answer my question!”

iii.

It’s only a Hallmark movie, but with how he’s reacting, it might as well be six hours of paint drying. Jason is not eager to spend his night watching some boring, formulaic cliché, but it's late and you don't have anything better to do.

“That is absolutely not true,” he says when you counter his protests with this excuse.

“It’s two o’clock in the morning, Jay. Is there anything else to do, except sleep?” You rub your tired eyes. Both of you could use some sleep but, burrowed as you are under a pile of blankets, moving all the way from the couch to the bed seems impossible.

He leans in close, lips brushing against your ear. “I can think of a few things.”

His warm breath tickles your neck, and you feel a shiver despite the heat you’ve conserved in your little blanket burrito. The faintest of kisses is pressed behind your ear, and his eyes glint with familiar mischief when he pulls back.

You brush him off, rolling your eyes in amusement. “Do any of those things involve flannel-wearing farmer hunks or the True Meaning of Christmas?”

Turning back to the television, you take the remote from his hands, catching the tail end of a disgruntled mumble about how ‘I can buy a flannel…’

He grumbles a few more complaints during the movie’s first act (‘he’s not even that hunky’) before you scold him to silence. Once he’s quieted, and you settle more comfortably into him, your head is nestled securely in the crook of his shoulder with arms wrapped around his bicep. The warmth of him has you fighting against the tempting call of REM. Right around when the independent, successful, businesswoman protagonist discovers the handsome, flannel-clad man who helped repair her car is also the single father who runs an honest family business, you start to drift off, falling asleep amid thoughts of wearing plaid in the countryside.

You open your eyes to find yourself standing in a vast, open field. 

Thump. Thump.

It’s unclear where the sound is coming from, but a splash of red in your periphery stands out. You turn; there’s a barn off in the distance.

Thump.

Your legs carry you in its direction. Growing closer by the second, the thumping sound echoes louder in your ears. When you round the corner of the structure, the front doors are propped wide open by cement blocks, and bales of hay are stacked outside the doors. A large figure, whose back is to you, is lugging a bale by its straps. He hauls it onto his shoulder, and his shirtsleeves tighten around his thick arms. He brings it to the barn, tossing it onto a pile of more hay bales. It lands with that same thump.

When he turns around, it’s in slow motion.

The sleeves of his plaid flannel are rolled up his arms, exposing his large, veiny forearms. Under the flannel, he sports a simple white t-shirt, jeans, and work boots that give him an extra inch of height. His face and chest are shiny with sweat, and his shirt is soaked through. He holds a toothpick between gritted teeth.

It’s Jason. In a cowboy hat.

He takes off his hat and runs a hand through his hair. Its dampness makes it stay slicked back rather than settling into its usual shape where little curls are always falling over his eyes. Then, he sees you. A slow, sly grin spreads across his face. He puts his hat back on and removes the toothpick so he can speak.

“Hey there, little lady,” he drawls lazily, the Gotham accent you’re so accustomed to replaced with a southern twang. It does something to you that you’re a little embarrassed to admit. He looks you up and down, pausing above your knee for a split second before continuing.

“Hi,” you say, averting your gaze from where it had zeroed in on a droplet of sweat running down his neck. Your face burns redder than his beautifully sun-kissed cheeks.

He chuckles. “You jus’ gonna stand there or you gonna lend a hand? Compost ain’t gonna turn itself.”

He easily hauls up another bale, and you follow him into the barn.

You watch as he shirks it onto the pile, then repeats with the remaining few bales. He seems to forget you’re standing there as he gets so absorbed in his work, expression tightening in focus. You lean on the wooden post behind you and soak it in; every sound, every flexed muscle, every display of firm strength has you feeling like the air has been punched out of you. He carries the final bale into the barn and his low grunt as he throws it off his shoulder has a swooning sigh escape you. It catches his attention.

Your chest tightens in embarrassment as he prowls closer. He leans over you, hand against the wooden post right above your head. With him this close, a smattering of freckles is visible over the bridge of his nose, likely due to all the sun exposure. Huffing and sweaty, his eyes drag down your face and stop at your mouth. He swallows hard, and his Adam’s apple bobs up and down.

He lifts his free hand to trace over the thin strap of your top. His fingers ghost over the skin, barely touching. “This is pretty,” he says, voice low. “What’s a pretty girl like you doin’ all the way out here?”

And you just can’t help it anymore. You lurch up to him, desperate to close the space between you. You kiss him hard, and he kisses you back, his hand rising from your shoulder to grip the side of your neck. His thumb brushes your jaw, and your hands grip the material of his flannel, yanking it down to bring him even closer. You pull him against you so roughly that your head bumps the post behind you from the force. He smirks, teasing, into the kiss as his hand comes to cup the back of your head.

“Easy, sweetheart. I ain’t goin’ anywhere.” After getting his fill from your lips, he slowly graces a path to your neck, kissing, licking, and nipping as he goes. His relaxed leisure perfectly juxtaposes your frantic hunger for him.

You grip his face and pull his mouth back to yours, kissing him with even more fervor. You take his bottom lip between your teeth, biting down with little care for gentleness, and tug at the skin. He groans, and it rumbles deep in his throat. You soothe the spot with your tongue, and your eyes roll back into your head at the salty taste of his skin. As his tongue slides between your lips, he removes the hand that’s leaning onto the post and settles it on the skin of your thigh. It drags upward, feeling every inch of skin on his fingertips before disappearing under the hem of your skirt. At the same time, your hands slide down his body. His touch explores higher, and yours slips under his shirt to ground yourself on the hard skin of his abdomen, which has become slick with sweat.

The sound you make is debauched, coming from the deepest recesses of your stomach. He pulls back, wearing a cheeky smile. He opens his mouth to speak and says—

“Wait, what the fuck?”

You jerk awake. Jason is yelling.

“Why would you go with him?” He exclaims at the TV, and then turns to exclaim to you, “Why would she go with him?”

You stare at him, agape, trying to process your surroundings and asking yourself what just happened.

“Shit. Were you asleep?” Jason puts his outrage on hold.

You nod. “Yeah— yes.” Your voice comes out scratchy and hollow. “I was.”

“Sorry, baby. Didn’t mean to wake you up,” he says. His eyebrows furrow. “Are you hot?”

“What?”

“You look warm.” He presses the back of his hand to your flushed neck. “Is it too many blankets?”

Though his hand is cool, you feel even warmer, the image of his hand gripping that same spot of your neck flashing through your mind.

“I’m…good,” you say. “I think I’ll go to bed.” You dig yourself out of the shell of blankets and stand, but he doesn’t follow.

“Oh.” Jason glances at the TV, which is still in a commercial break. “You— did you want me to come?”

You don’t know what to say.

“The, uh…” He runs a hand through his hair, and you have to stifle a gasp. “The guy from her successful city life tracked her down to the small town to get back together. She said yes.” Then he sighs, sounding genuinely distressed. “There’s no way they’d end it like that, right? He was awful to her!”

At this, you crack a smile. “Do you want to finish the movie, Jason?” A hint of satisfaction seeps into your tone.

He clears his throat. “…Maybe.”

You plop back down on the couch with a hum. He interlaces your fingers and kisses the back of your hand before redirecting his attention to the screen.

“Babe?” You ask.

“Hm?” He answers, not looking away from the movie.

“Do you own any flannels?”

SAVE A HORSE RIDE A COWBOYYYYYYY

love when u leave messages and feedback it feeds my praise kink

for part one: cut to me sitting up in bed shrugging my shoulders over and over again to see which muscles it uses and if that coincides with the injuries i gave him to see if that action causing him pain makes sense (it was inconclusive so i made his injuries vague oopsie)

for part two: the bourne identity (2002) is a movie about a guy named jason who wakes up not knowing where or who he is and somehow has elite training in combat and surveillance, though he doesn't know where it's from. he runs around functioning on pure instinct to survive while getting bits of his memory back, remembering that whoever he worked for was cutthroat, expected him to obey no matter what, and forget the person he used to be before joining their mission. sound familiar?

for part three: cut to me genuinely tweaking while proofreading bc i let my friend read it and so rereading it, knowing that she read it, was so embarrassing. i was screaming into my pillow & it took 20 minutes to get through 2k words bc i had to keep taking breaks. not an exaggeration

If any of you saw me change the theme of my masterlist 5 times yesterday only to change it back to what it was before…no you didn’t

[poetslore]

An exploration of themes in Netflix’s “Leave the world behind”

1. Societies reliability on technology and the side effects of this reliability. One example of this is Ethan Hawke’s character Clay. Clay attempts to drive back to town so he can buy a newspaper and hopefully come across someone who knows something about the blackout. Unfortunately Clay gets lost on the way to town due to the fact that his cars GPS isn’t working. If he hadn’t relied so heavily on technology he would’ve known how to read a map and likely would’ve made it to town.

2. Societies distrust in humanity. One theme that I immediately noticed is the characters distrust of other characters. Julia Roberts’ character Amanda immediately distrusts George and Ruth, while their spontaneous arrival is strange she immediately didn’t trust them (the second she heard them knock on the door she didn’t trust them). We as an audience also experience distrust. When we first see Kevin Bacon’s character Danny we think he is odd and is likely going to be a possible villain due to this odd behavior. When Rose and Archie come across the tool shed in the middle of the woods I presume most of the films audience thought someone creepy likely resided there. This growing distrust that society holds for humanity is caused by are easy access to negative media (petty and major crimes are reported more often) and due to our growing obsession with true crime which has made us paranoid and distrustful of even the kindest of people.

3. Sometimes old is better. The teslas. If your remember just after the halfway mark of the film, Amanda and Clay decide that it’s best to leave to Scott’s house and go to Amanda’s sisters house in Jersey. On the way there they come across a pile up of Teslas and nearly get killed by oncoming teslas. This is because Teslas contain a self driving feature. This feature is purely technological which is how the hackers were able to manipulate the Teslas self driving feature in order to isolate communities.

4. Violence in the media. This is a rather small theme but remember when the flyers are thrown from the drone and Clay is absolutely terrified. Well the flyers said you know what (I don’t want to get reported or banned) Archie immediately knew what these flyers said due to the fact that he saw that exact same phrase in a video game.

5. Our hatred, yet reliability on humanity. This movie has one major theme and it first appears in the beginning of the movie. Amanda reveals that one of the prime reasons why she wanted to go on vacation was because she wanted to get away from people. Ruth is consistently harsh and downright disrespectful to Clay and Amanda and everyone in the family shows an annoyance to Rose, the youngest child. It’s obvious that 90% of the characters don’t actually like people and dislike socializing yet the characters consistently attempt to rely on the news and fellow people in an attempt to figure out what’s going on.

6. Age leads to discredit. Rose is probably one of the smartest characters in the film. She consistently takes note of small details such as the sirens and the deer, unfortunately everyone around her including her own parents consistently ignore what she has to say and discredit her intelligence as simply being the musings of a 13 year old. It is obvious that everyone (meaning Clay, Amanda, Archie, and Rose) don’t have any respect for each other and because of this lack of respect they aren’t a cohesive family whatsoever and they consistently get in little tiffs about the dumbest of things.

These were just some things I noticed while watching the film.

[huckleberrykai]

°˖✧ huckleberrykai's masterlist ✧˖°

last updated: 22.10.2023 requests + suggestions: open! pls give me some i beg

tomorrow x together ⋆ ˚｡⋆୨♡୧⋆ ˚｡⋆

ot5 headcannons + mini fics:

➵ crush crush crush ~ [what are they like when they have a crush on you?]

➵ our song ~ [mini scenarios based on taylor swift lyrics!]

➵ let's dance the night away ~ [prom with our fav boys!]

➵ call me baby ~ [nicknames you give them!]

➵ there's food at home ~ [txt as dads!]

➵ why's it spicy? ~ [txt vs your plumping lip gloss]

➵ squish ~ [txt reacting to their chubby gf in a tight outfit]

choi yeonjun:

➵ lost ~ [when yeonjun finds a lost child in the park while trying to clear his head, he goes on a quest to find her mom.]

➵ found ~ [after that day in the park, yeonjun decides he wants to keep you both around for a long time. - part 2 to lost!]

➵ i did something bad ~ [if you're on opposite sides, then why does it feel so good to be with him? - mafia au]

➵ dance with me ~ [trying to confess to your dance class partner on valentines day is more overwhelming than you originally thought.]

➵ are you still watching? ~ [after a long tour away from his baby, yeonjun doesn't wanna pay attention to the netflix show you were watching. - SMUT 18+ ONLY !]

➵ picturesque ~ [you go on a cute date with your boyfriend, who just so happened to bring his new camera.]

➵ never been kissed ~ [your new boyfriend just wants some smooches, but you aren't sure how to tell him you've never been kissed.]

➵ comfy cozy ~ [yeonjun gets a little handsy when you surprise him with an early autumn cozy getaway for his birthday. - SMUT 18+ ONLY !]

choi soobin:

➵ sacrifice ~ [you spill a drink on a very pretty man in a club ~ inspired by sacrifice by bebe rexha]

➵ superstar ~ [when soobin gets the opportunity to work with you, he can't help but feel nervous.]

➵ birthday bunny ~ [just two tired horny lovers messily helping each other out. - SMUT 18+ ONLY !]

➵ fight for you ~ [on your 21st birthday coronation day, you finally get to meet the knight you've been admiring for so long.]

choi beomgyu:

➵ not so secret ~ [secretly dating someone in a house of six people isn't easy - especially when you wander out of his bedroom wearing nothing but his shirt.]

➵ call it what you want ~ [when you and beomgyu start dating, you aren't sure how to tell your brother soobin.]

➵ i wouldn't ask you to take care of me ~ [after returning from your honeymoon, you already have to put your vows to the test.]

kang taehyun:

➵ tae-tok [when your boyfriend is always touring or busy, you settle for the next best thing. tiktok boyfriend edits that his fans make.]

➵ the virtue's in the verse ~ [you become a secret admirer to the boy who never responds to your flirts]

➵ missing you ~ [taehyun wanted to surprise you by coming home early, but it turns out he got home just in time. - SMUT 18+ ONLY !]

huening kai:

➵ here's to teenage memories ~ [you meet a cute boy on vacation ~ inspired by kiss me kiss me by 5SOS <3]

➵ i thought we were in love already? ~ [kai tries to think of ways to get you to like him, unbeknownst to him you've been in love with him the whole time.]

➵ you smell nice ~ [kai notices his hoodies going missing, and it isn't until he visits your apartment to stay for the weekend that he realises where they all went.]

➵ toaster strudel ~ [kai wants to frost his favourite pastry before he eats it <3 - SMUT 18+ ONLY !]

➵ pizza lover ~ [sick of playing cat and dog, kai gives you a little push to cross the barrier of best friends to more <3]

➵ can't keep my hands to myself ~ [your first time with your sweet boyfriend who can't help but think about your pretty hands - SMUT 18+ ONLY !]

➵ cat and dog ~ [despite being so different, your friends think your black cat and golden retriever dynamic with your boyfriend is adorable.]

➵ memories ~ [of course being best friends with your boyfriend's sister means premium access to his childhood videos.]

➵ video games ~ [gamer bf!kai x sanrio gf!reader ~ headcanons and texts]

➵ all mine ~ [kai never considered himself the jealous type. not until he met you.]

➵ laundry basket ~ [when kai finds his sweet precious girl with his dirty shirt in her face and her hand down her pants he has to teach her a lesson. - SMUT 18+ ONLY !]

[dehliadelights]

how many times each ninja lose their powers in every Season of Ninjago (Excluding Dragon Rising)

Pilot: They didn't have them until they found the golden weapons, so I'm counting this entire 'season'. 4 times.

Season 1 (Rise of the Great Devourer) : The ninja are reliant on their golden weapons for their elements aside from Lloyd, I'm counting this whole season. 13 times.

Season 2 (Legacy of the Green Ninja) : the ninja, aside from Lloyd, don't have elemental powers (or very limited powers) until episode ten. 10 episodes.

Season 3 (Rebooted) : The ninja all have their elemental powers for this season, though Zane's is weaker due to sharing his power source with Pixal. I'm not counting that, though. Lloyd loses his golden power, but that's not his main element of energy and I'm not counting that, either. Zero episodes.

Season 4 (Tournament of Elements) : This is the fun one, where I'm gonna counting the Ninja individually. Zane's power is gone until around episode 8, but he doesn't have any screen time in episode 1, Cole loses his in episode 3. The rest of the ninja have their elements until episode 6 or 7.

Zane: 6 full episodes, maybe part of episode 8.

Jay: 2 episodes

Cole: 4 episodes

Kai: He doesn't lose his element this season! He's smart in this season! Good for him!

Lloyd: Doesn't even spend an episode with them gone.

Season 5 (Possession) : Lloyd gets possessed by the spiteful ghost Morro, and the Ninja lose access to their powers. Starting from around halfway through episode 1 until around episode 7 or 8. But Nya gains her power this season! Good for her, I say! 7 Episodes

Season 6 (Skybound) : No powers are lost, juat Ninja captured in the Djinn blade! No episodes!

Season 7 (Hands of Time) : Again, no powers lost, just Wu. No episodes.

Season 8 (Sons of Garmadon) : Lloyd loses his powers in episode 10, he's the only one, though. One episode for Lloyd.

Season 9 (Hunted) : Lloyd doesn't have his powers back until episode 10, so that's another 9 episodes for him.

Season 10 (March of the Oni) : No episodes, it's a short 'season' like the pilot.

Season 11 (Secrets of Forbidden Spinjitzu Fire + Ice) : Kai loses his elements starting from episode 5 and doesn't really get them back until episode 30. 25 long, long episodes of powerless kai.

Season 12 (Prime Empire + Master of the Mountain) : The ninja, minus Zane, lose their powers while in the video game prime empire, starting from episode 2 until around episode 16. That's a lot of episodes. In Master of the Mountain, I don't think any of them lost their powers. Idk I stopped watching after starting prime empire, I'm reading the episode description text on Netflix now. 14 episodes.

Season 13 (The island + Seabound) : I don't think the ninja lose their powers, except Nya, who loses her power on episode 20. 1 episode for her.

Season 14 + 15 (Crystalized) : Nya doesn't have her powers for the whole of Crystalized part 1, and part 2 idk where she gets them back. I'm just saying she probably gets them back on the last episode before the season final. 25 episodes for her.

Total for each Ninja

Jay: 50 episodes across 6 seasons.

Cole: 52 episodes across 6 seasons.

Zane: 40 episodes across 5 seasons.

Kai: 73 episodes across 6 seasons. Poor guy. He has the longest duration without powers.

Lloyd: 10 ⅓ episodes across 3 season.

Nya*: 40 episodes across 3 seasons.

*Nya's does not count the time before she discovered her element.

[ghouldtime]

Fun fact, I’m terrified of mimics, like terrified. I watched a show called haunted on Netflix and the first episode of season two was about a mimic and I’ve been scared of them ever since. Ok now that that’s out of the way, please I need more of mimic!Gaz if that’s ok? I feel like he’d be the only one that doesn’t make me wanna run far far away

I can't blame you. Mimics can be anywhere, anything, at anytime. They can take the place of someone you know in the blink of an eye, they can take the spot of your favorite pillow you swore you lost two days ago - that's what makes them so scary. THAT is what's scary, you never know what you're truly going up against

Also please note that my idea of a mimic may vary from others! Usually, I see them as something that can mimic their surroundings. Whether that be voices, people, or things to blend in

Some more about mimic! Gaz

Just because he's a monster doesn't mean he's a monster

Though he may be a mimic and may, by definition, be a monster - he's still retaining his humanity. He still has a set of morals, he still has his own aspirations, hopes, and dreams

He is, however, still very much a monster. A monster who can and does eat people. But that's not indiscriminately

Truth be told, though his kind is known for the whole 'eating people' deal, he's not a huge fan of it. He'd rather not do it because then he'll be questioning himself and where he stands

Doesn't mean he can't or won't. Being a mimic means he's effective at it, it's a great way to get rid of evidence and to take out anyone against him. He'd just rather reserve it to those occasions

He's still very much the Gaz we love! Even if his default form doesn't look close, the appearance we know him as is what he prefers. It's how he sees himself in his mind's eye after observing humanity for so many years, so it's how he presents

He feels the traits he chose represent him best after seeing them displayed on many people throughout the years and it really is how he feels. He combined them into an appearance he liked. He usually maintains and keeps himself in that form, he'll only shift back to the default state if truly injured or extremely sick. Otherwise, he's mainly looking like his normal, handsome self

(Technically, he's an 'original' being in his human form since everything about him was taken and melded into who he is from those who already existed before him who he interacted with)

The main thing you'll notice on him that may set off some alarm bells would be his canines. Those things are SHARP. But other than that and a few weird slightly not-normal habits (like seemingly not needing nearly as much rest as a healthy human should and being able to easily eat bones), he seems to be a stand up guy

He mainly takes the form of a human because humanity has interested him ever since he came into this world. Though he doesn't understand the full range of emotions, comprehending them and the world as a whole from their point of view was so incredibly fascinating

Not to mention, the human world itself is incredible too! He wanted to be apart of that, and not just in the background or hiding in the shadows

He understands why his kind aren't exactly liked and are feared, but in this day and age, it's significantly less of an issue for him since humans have mostly moved on past their fear of monsters and are so easily distracted with technology

He can mainly use his form to his advantage now, allowing him to easily blend in and out of the background as he pleases. It allows him to get into many private places (such as lecture halls) and into areas he otherwise never would consider or be able to access

He's a curious guy, he likes to learn. He still has a lot to know, even after all these years, but he isn't there to just eat people or betray your trust. He's not simple minded

He's just another being with his own thoughts, emotions, feelings, and past! He tries not to let his nature define him, even if it can distinguish him from being a human alone

You'd probably never know he's a mimic but if you're one of the few who expressed you really didn't care, you just like him for him, he'll be happy to change around you

At least it can make for great photo ops and is incredibly convenient for nearly any scenario you can think of

Seriously, be his pal, he's still just a guy! Just in a different body with a little bit of a different mindset :D

[savethegrishaverse]

Here is the Transcript to the Questions Answered by Eric Heisserer!

Recently, we were very fortunate that Shadow and Bone showrunner Eric Heisserer agreed to answer some fan questions! Below is the transcript of the screenshots that have been previously shared—not an entirely new interview. The transcript in this format should be much more accessible and convenient, particularly for anyone using a screen reader.

To make it easier to read through Eric’s responses, we’ve nested his answers below coordinating questions.

Okay, taking these one at a time -- because some of these will have very long answers, and I may have to return at later intervals to answer them: (note: questions will be in bold)

"I'd like to know if there's a way to liberate the pre-written scripts if Netflix doesn't plan on using them" - Asked by Christian Thalmann, the creator of the Fjerdan language.

"There is a way to liberate the Crows scripts from Netflix, yes, and in fact that would be part of the buyout for another streamer when acquiring the rights to Leigh's novels. It would be a package deal."

"In my view, "The Crows" have the potential to revitalize the Grishaverse. Unlike "Shadow And Bone," this new show could rely less on elaborate visual effects and offer a fresh narrative angle. Heist-themed shows are currently in high demand, adding to its appeal. Am I mistaken in thinking that our focus should primarily be on "The Crows"? The likelihood of "Shadow And Bone" returning seems slim, but l've always believed that "The Crows" had a greater chance of success." - asked by fellow fan Joleen

The focus on the Crows is helpful in two ways -- first, those scripts are written, which lets us get a running start at production, and second, just from casual analysis of book sales, it's far more popular worldwide than other Grishaverse titles. So it will be a bigger draw for viewers.

The trap though is the cost. It's more grounded than S&B, sure, but the Ice Court is a unique location that either requires a really costly set build, or set extensions and VFX work to make it look authentic, which means nearly every shot of the heist once our crew gets there could be a VFX shot.

My guess is the budget would be on par with S2 of S&B.

"If/when the spinoff is back (finger crossed) was there anything he had planned that would completely surprised, for good reasons obviously, the audience. And we should hold our breath for that twist/turn?" - asked by fellow fan Rti

​​Yes, there is a surprise or two in the Crows spinoff season, but overall it's as close to the novel as we could make it. And Leigh's novel is such an amazing story with natural cliffhangers that work as episode "out" moments, etc. I think the biggest move we made was to feature every single Crow's backstory to go with their episode. So that was fun/sad/exciting.

"What was the difficulties you mentioned about filming Season 2 in that Reddit comment? Don't want to sound negative but what went wrong?!" - asked by fellow fan Mitra

S2 kept throwing challenges at us, and it started long before we got to production. Like months earlier, when we learned the location we used for the Little Palace in S1 was closed to us due to the pandemic. So right there we lost out on a ton of S&S scenes, because it wouldn't be a match. But we also had written a compelling side arc for Ivan and Fedyor in S2, these two Grisha trapped on either side of the civil war. Each of them played a big role in the story, but Simon (Ivan) had a feature film that overlapped with our schedule and couldn't move, which meant we lost him. So Daegan worked to revise the season keeping Fedyor and leaving Ivan as most likely dead from the end of S1. He was Kirigan's right-hand man for the season. But poor Julian caught COVID just when we were to shoot out most of his scenes, and after trying to make the schedule work, we had to come to the brutal truth that there wasn't a way to keep Fedyor in the story. Our only option was to bring him in at like episode 8, which would've been too little, too late.

COVID continued to be a monster all through production, requiring us to juggle schedules and miss out on days, and it was madness for the cast, who had to pivot with almost no notice whenever someone was ill and quarantined. This isn't unique to our show of course -- it happened with everyone. It's just a challenge.

Beyond that, we had been given the go to write a special standalone story, The Demon in the Wood. This would have been released on its own around Christmas, like a BBC special but for Netflix, and would help bridge seasons 1 and 2 by showing a little of what Kirigan was doing before we see him in 52, and also provide more character context, etc. Christina Strain wrote that and did great work adapting Leigh's short story. But it never went the distance.

There was a lot more to 52 as well, scenes and side stories and little interactions that were lost due to budget or time restrictions. Again, not unique to our show, but agonizing all the same, since what you get is not what we had written, or in some cases even shot.

I'm incredibly proud of the cast and the team, and Daegan did the heaviest lifting while I was off finishing the Crows writing room. But we had a lot more thrown at us.

"How long was the sizzle reel ready to go but he had to keep it secret?" - Asked by members of the Discord Team

That sizzle reel was put together about four months before the second season dropped.

"I would love to know his perspective on the impact of streaming on storytelling. Would we have had to launch a campaign like this 10-15 years ago for a show like this? What are the main pain points when it comes to streaming models & telling unique, diverse stories?" - asked by fellow fan Acorn_Bri

Streaming is a challenge to serialized storytelling in that it looks at 'content often with a different agenda and uses metrics that can take a creative issue and exacerbate it. Like in broadcast, if viewership and thus ad revenue has slightly declined, the show will need to find a way to make their 22 or 13 episodes on a proportionally smaller budget. What is not done is reduce episode order. But if a streaming series underperforms or doesn't meet expectations, and the streamer doesn't cancel it outright, the go-to budget reduction idea is to reduce episode order for the next season.

When you just have 8 episodes and continue to deal with notes to compress, pace up, or omit for what you'd scripted for a longer season, reducing further to six or four episodes is exhausting.

This happens due to a slide in autonomy from what the showrunner position had been. What the chatter on the picket lines revealed to us is that most showrunners today don't get to see their own show's budget, and thus don't get the freedom to make budgetary decisions that could better protect the story they're telling. More and more, showrunners not at a legacy network aren't the final say or at times even involved in hiring key roles. I don't have any ideas that aren't already in a contract language, I just see how the job on this side has gotten harder and there isn't much of a way for us to make it easier for each other like we could with having writers on set or in post production, because the streaming model has made that impossible.

—

Once again, we would like to give a big thank you to everyone who asked their questions, and an even BIGGER thank you to Eric Heisserer for answering them!

[camouflagedpath]

I was rewatching the latter half of season 3 (I know, questionable life choice), and did anyone else find Tissaia’s line about the enchantment procedure really strange?

"They make us sacrifice so much. The cost of learning magic. When I came to Aretuza, if a sorceress fell pregnant, she was kicked out. ‘Divided loyalties,’ said the men. So, I made them take us seriously. The enchantment was never about clearer access to Chaos. It was about getting a seat at the table. And the Brotherhood, they called me bold. I was just desperate. The first of many mistakes."

Like, not only does that completely contradict what Giltine said in S1 about the inherent cost of creation and needing something sacrificed in exchange (beauty + never aging in exchange for a mage’s womb), I feel like it also diminishes the entire plotline of Yennefer being upset about her infertility. She makes peace with it on the show through Sodden and Ciri etc., which is supposed to send a message about how family and fulfillment doesn’t have to come from your womb, and I feel like Tissaia suddenly saying ‘oh wait no, you actually can be a sorceress and get pregnant, I just wanted the men to take us seriously so I removed your ability to do so’ cheapens it somehow? I totally get her being regretful about sending pregnant students away, but to me the whole exchange felt like a cheap and shoehorned excuse to give Tissaia even more life regrets to justify the suicide or whatever. IMO if they wanted to go that route, then they should’ve just brought up the eel pool. But no, instead they have to contradict a whole ass S1 plotline with a stupid one-liner. (Also, what she said makes no sense anyways because the enchantment still occurs at graduation, so you’d still get kicked out of Aretuza if you fell pregnant before that.) Also it's weird that Yennefer didn't even say anything after Tissaia said it??

I also kind of liked how in the witcher books, Tissaia implemented the sterilization procedure because Chaos messes up your fertility anyways and often results in seriously deformed and dangerous offspring, and she wanted to prevent that. It showed a tougher, more rational side to her character that I feel was lost a bit in S2 and S3. I feel like through show!Tissaia’s general plotline with the Brotherhood, Netflix wanted to send this weird pseudo-feminist message about how you shouldn’t try to ‘be one of the men’ to be powerful, which okay fine, but why make old and wise Tissaia of all characters go through that?  

I know this is like 1 small point on the vast list of things Netflix screwed up, but it was bothering me so I decided to make this post lol.

[denimbex1986]

'Before his life-changing call from director Christopher Nolan, his sensational performance as the father of the atomic bomb in Oppenheimer, and the well-deserved Oscars buzz following the film’s release, Cillian Murphy spent nearly a decade portraying working-class Brummie gangster Tommy Shelby in Steven Knight’s British crime drama, Peaky Blinders.

Inspired by the real-life gang of the same name, the six-season series followed the Shelby family’s business dealings, relationships, unsavory acts, and pursuits of power in Birmingham, England, 1919. Thanks to compelling writing, word of mouth, a Netflix streaming slot, and standout performances from a stacked cast — especially Murphy’s — what started as a small show on BBC Two in 2013 grew into a global phenomenon.

Oppenheimer’s immense scale and widespread acclaim may have solidified Murphy as a household name, but in the years leading up to the monumental project, Peaky Blinders allowed him to meticulously refine his craft, wholly inhabit a character, and take his acting prowess to the next level. A decade after the riveting series premiered, Tommy Shelby remains one of the actor’s most indelible roles — a truth even more impressive when you learn that Murphy wasn’t Knight’s first choice for the Peaky protagonist.

That’s right. The 47-year-old Irish actor nearly lost the role of Tommy Shelby to Jason Statham, but a text sent to Knight post-audition, which read, “Remember, I’m an actor,” changed everything. Ahead of Peaky Blinders’ final season, Knight told Esquire he “never forgot” Murphy’s show of confidence. Despite the clear departure from his appearance and past roles, the actor was sure he could embody the physically imposing, virile gang leader. And he was right. “It’s a cliché, but no one else could have been Tommy Shelby,” Knight admitted later in the interview. “It would be absurd. It was as if Cillian was always waiting.”

Since Murphy first rode through the gritty Birmingham streets on horseback sporting a fresh undercut and a razor-trimmed cap pulled over his eyes, the role felt as bespoke as one of Tommy’s signature three-piece suits. On the surface, Murphy nailed the Birmingham accent, convincingly knocked back lowball glasses of whiskey, confidently handled a gun, and seductively smoked thousands of cigarettes on set. But his abilities to access and expose the deeper complexities, contradictions, and PTSD of the broken World War I veteran were particularly profound.

As the leader of the tight-knit Shelby clan, Tommy was a commanding, ambitious, fiercely intelligent force; an enigma who routinely committed despicable acts, but possessed enough potential for good that he repeatedly gained empathy from viewers — with help from Murphy’s charisma and authentically pained portrayal. Haunted by flashbacks of France and fueled by booze for a majority of the series, the Peaky Blinders leader perpetually grappled with a restless mind and stained soul, while guarding a heart capable of immense love. He was, all at once, completely unafraid of his own death and terrified of losing others. And since business was always personal, his family became his greatest strength and most sizable weakness.

A fraternal feeling and the sheer weight of familial responsibility shone strongest in scenes with Paul Anderson’s Arthur, while Tommy’s intimate relationship with Helen McCrory’s Aunt Polly — which deepened and shifted on the daily — peeled back his layers and offered glimpses of vulnerabilities. Tommy’s shell was undeniably softest with Grace (Annabelle Wallis), the woman who made a tea drinker, father, and eventual fortress out of him. Through small talk and genuinely sexy sex scenes, heart-to-hearts and heartbreak, and the brutal gut-punch of unexpected mourning, Murphy tapped into the full range of human emotions to convey and process the love and loss of Tommy’s wife. He never fully recovered from her death, but devastating breakdowns after the loss of Polly and his daughter Ruby proved he was still able to feel.

Murphy effortlessly exuded swagger, showed subtle humor in moments like the famous “no fucking fighting” scene, and slipped into pure panic at the drop of a hat. He loudly expressed grief in palpable scenes, such as Tommy’s brush with death in the Season 2 finale — when he almost had (and lost) “fucking everything” — or the bone-chilling final seconds of Season 5, when he hopelessly held a gun to his head, emitting a guttural scream born from insufferable trauma and fury. But despite the grand outbursts, so much of Tommy’s emotions were expressed without words; through Murphy’s facial expressions, jaw clenches, silent spirals, and intense gazes from his deep-set ice-blue portals.

Whether Tommy was strutting through smoky streets in solitude, leading grand shootouts with adversaries like Luca Changretta (Adrien Brody), digesting Alfie Solomons’ (Tom Hardy) verbal acrobatics, recovering from ruthless beatings, chomping on a leaf with his toddler, or battling his inner demons, Murphy’s performance was mesmerizing. Over the course of Peaky Blinders’ run, the actor brilliantly resided in the middle-ground between hero and villain, light and dark, and savior and sinner. And without fail, he flawlessly found his way back under the multi-faceted character’s skin after substantial filming gaps and major projects like Dunkirk and A Quiet Place Part II. In the 36 hours we got to spend with him on-screen, Murphy delivered a career-great performance, crafting an incredibly lived-in character, while masterfully evolving alongside him.

A decade after Peaky Blinders first premiered, it remains a razor-sharp series that boasts Knight’s brilliant storytelling; captivating characters; stunning set design, wardrobes, and haircuts; a killer soundtrack led by Nick Cave and the Bad Seeds’ “Red Right Hand”; and a cast that was firing on all cylinders. The series’ legacy is as strong as the Shelby family in their prime, and when the credits roll on the dark final season — one made considerably more challenging by COVID-19 and the real-life death and mourning of McCrory — you’re reminded again that no one else could have been Tommy Shelby; that Cillian Murphy, as promised in his post-audition text, is one hell of an actor.'

[alicent-vi-britannia]

The Divine Comedy and Code Geass

Did you know that Lelouch is reading Dante's poem The Divine Comedy in the first episode of Season 2?

Lelouch is actually reading the Purgatory passage when we get a brief glimpse of the page he had open.

Considering that the poem is an allegory of the soul's ascent to God (at the beginning of the poem, Dante says that he's lost in the dark forest and is unable to find the right path; that is, he leads a life of sin and finds no salvation), I think the book works here as a foreshadowing of what we'll see at the end of the season. Lelouch is not free of many, many sins either, however, he will be able to atone for his sinful soul with the Zero Requiem.

Purgatory, in fact, is "a transitory state of soul purification and atonement in which, after death, people who have died in a state of grace suffer the temporal punishment still owed to forgiven sins and, perhaps, atone for their unforgiven venial sins in order to access the beatific vision of God" (according to our friend Wikipedia). So, if Dante's heaven and hell exist in the Code Geass universe, Lelouch went there after he died.

By the way, enough of the joke "The Divine Comedy is not funny." What is not funny is this silly joke that is too worn out. Words change meaning over time and this is the case of "comedy" which in the past was the term used to designate works with a happy ending (and a happy ending is what Okouchi and Taniguchi consider Code Geass to have). That's why The Divine Comedy was originally titled "Comedy" and it was the Italian poet Giovanni Boccacchio (the guy who wrote The Decameron, a collection of poems that had a Netflix adaptation this year) who added the adjective "Divine" to it. Here's that good fact for you.

Additionally, when the Ragnarök Connection begins in episode 21 of R2, we see for a split second these words that in English translate as "Abandon all hope, ye who enter here." This is the scary (and famous) inscription that appears at the entrance to the hell passage in the Divine Comedy. In case it's not clear to you why the Ragnarök Connection is a shitty plan and is bad for humanity, I did an analysis of it here.

Also, In the first season, Lelouch is reading Hamlet and there are many parallels between Shakespeare's tragedy and Taniguchi and Okouchi's work. I pointed them out here:

[chronic-cane]

Judy Heumann passed away on March 3rd, 2023

She said she believed it was her parents’ experience [fleeing from Nazi Germany and the Holocaust as children] that led them to reject doctors’ advice to have their daughter institutionalized after she contracted polio and lost the use of her legs. “They came from a country where families got separated, some children sent away, others taken from their families by the authorities and never returned — all part of a campaign of systematic dehumanization and murder,” she wrote in her memoir, “Being Heumann.” “Their daughter, disabled or not, wasn’t going anywhere.”

If you have Netflix, Heumann is in Crip Camp, an amazing documentary on disability rights.

Here is her website that lists her publications, including her recent 2020 memoir called "Being Heumann" (please do not pirate her publications out of respect. Buy them or find them at a library).

This woman is one of the main reasons why disabled children in the US can attend public school. She fought for accessibility in Federal buildings and work places before fighting for the ADA, for accessibility in all spaces.

I am heartbroken to hear of her passing. She has impacted the lives of millions if not billions of people for the better. May her memory be a blessing.

[iam93percentstardust]

neck kisses neck kisses neck kisses for stevetony (ily)

neck kisses neck kisses neck kisses for proseandpeonies (ily2)

This one's a slightly shorter installment, but! It also bumps the rating up to a soft M, so I think it's a fair trade-off?

Part 1 | Part 2 | Part 3

~

There’s a movie playing on the TV—or possibly a documentary at this point, Steve doesn’t know how long it’s been since they collapsed onto the couch. They had been on their way on the door for a date at one of the most unlikely places in town for anyone to see and recognize them—a picnic in the park—when it had started raining. And, frankly, both of them would have been willing to put up with a little rain (fewer people to see them, after all), but the lightning had sent them scurrying back inside.

Steve had set up a fire in the fireplace instead, fending off the February chill, and put the picnic blanket on the floor in front of it, and they’d had their picnic there, feeding each other strawberries and meats and cheeses.

Tony had taken him by the hand afterwards and led him down the three steps into the sunken couch in the middle of the living room, and that’s where they’ve been ever since, the rain on the roof providing a staccato beat to the atmosphere. They had put a movie on but that hadn’t lasted more than a few minutes before Tony had swung a leg over Steve’s lap and kissed him.

Steve’s kisses are against his throat now, Tony’s hands in his hair, his head tilted to one side to give him access. He runs his nose up the line of Tony’s neck to his ear, placing a gentle kiss just below it before he sucks the lobe into his mouth. Tony moans and rolls his hips against him.

They’ve both lost their shirts, tossed somewhere behind them where they’ll probably trip on them later, but that sounds like a problem for the future. Tony’s back is hot against his hand, heated from the fire and what they’ve been doing. The sound from the TV abruptly cuts off—Steve lifts his head to investigate, ignoring Tony’s murmured complaint, and finds that Netflix has gotten impatient with them and given up.

“I can turn it back on,” he offers, voice hushed in the sudden silence.

Tony shakes his head. “It’s fine,” he says and pull Steve’s mouth back to his throat. “Kiss me again.”

And that is an order that Steve can gladly get behind. He nibbles on the juncture between Tony’s neck and his shoulder, the place that always makes him gasp like he’s desperate for air, and then, when Tony does indeed gasp, he sucks a dark bruise into it. It satisfies the snarling alpha in him, the one that wants to put sharp teeth to Tony’s bonding gland and bite, that isn’t satisfied with licking and sucking it until it’s swollen and Tony’s eyes are glazed with pleasure. He’s putting his mark on him, that’s enough. That’s more than enough, more than he ever thought he could have with Tony, and—

“I love you,” Tony gasps, rutting his hips against Steve’s stomach.

Steve stills, the words thrumming through his mind. “What?” he croaks.

Tony freezes too, pulling back to look at him with wide eyes. Steve is reminded of deer in the headlights. “Uh, yeah? I love you?” he says, but he doesn’t sound as sure about it anymore. “I was gonna tell you during our picnic but then—” He gestures at the floor-to-ceiling windows and the rain lashing against them. “And then, I don’t know, I just forgot? You and the strawberries, just kind of… blurp! Fled my mind. It feels kind of weird now that I’ve said it. Was it weird to hear? Maybe it was too soon? It was probably too soon, we’ve only been dating for six months.”

Oh, Tony is panicking panicking about this. Steve shakes his head fondly, rolls him underneath him, and kisses him quiet. It takes a while though. Tony keeps trying to talk every time Steve pulls away, trying to justify what he’d said without giving him a second to talk. So Steve just keeps kissing him, swallowing every self-deprecating comment he tries to make.

Eventually, Tony is lying quiet and sweet and dazed underneath him, and Steve can finally say, “If you’d be quiet long enough, I’d tell you I love you too.”

“See, that’s what I thought you’d say,” Tony says immediately, and Steve just waits because he knows that eventually the words will filter through to Tony’s brain. “It was too soon, you’re absolutely right, and—wait. What?”

“I love you too,” he repeats patiently.

“You do?”

“Oh. Huh.” Tony sits for a moment with that. “So, if you love me… you wanna see if you can make me come just by sucking on my neck?”

Steve laughs so hard, he falls off the couch.

“Hey! Steve! It wasn’t that funny! You get back up here, mister, and finish what you started!”

[bohemian-nights]

i’m so excited for part two, i’m skipping all the way to end to see masali like idc about anything else! and i have no doubt in my mind that she’s sophie, you can tell her and luke are a perfect chemistry match without even seeing them together like i need this fandom to be fr…. also i expect her role announcement and a season 4 benedict season announcement by 9AM EST from netflix!

Quite frankly it’s because of how disgustingly anti-Black these “leakers” have been that is keeping me from believing them. The ring leaders behind this have either outright said they don’t want Sophie to be Black or have weaponized homophobia and in some cases racism(which is ironic given these people are racist pieces of shit) to silence Black women when we call them out for them ignoring the obvious signs that they have cast a Black woman in the role of Sophie Beckett(and that woman is likely Masali) and how problematic it would be to cast a dark skinned Black woman in a masculine role.

And yes, I do have screenshots in case anybody thinks I’m fucking exaggerating:

Lets start with anyyyyb. She’s deleted her account, but this is the one with the Irish journalist “source”(lie because no journalist had access to those episodes on May 16th when she posted her “spoilers”). Despite that though she claimed that Michaela was John’s sister(lie cause John is a confirmed only child) and that she didn’t know who Masali is. Which was another lie because she wrote this under my mutals post almost a month before part 1 even aired:

I’m pretty sure that she was Cass the morons “source” because anyyyyb was the first of the new “leakers” who mentioned the sister thing and Cass self-admitted to not knowing if her source is credible or not:

This same woman dared to get pissy when she was called out for blatantly lying(sister thing) and spreading shit that hasn’t and will never be confirmed which caused Masali to be unnecessarily attacked:

Cass has independently been trying to push the Michaela “theory”(which is a name made up by the fandom) for a while now because her dumb ass thinks all Black people look alike:

Mind you the woman in the carriage is a crew member(Shanika Ocean) who doesn’t even have the same skin tone as Masali(she’s lighter), Masali also has never been seen on set, but Cass the moron thinks they are the same woman because they are both Black.

And if that’s not enough for you she also wrote this when people were calling her ignorant behind out to try and save face:

The other Tumblr account that claims to have a Netflix employee camped in their inbox willing to feed them info and risk losing their job in today’s economy to do so, is a racist and a colorist who has been against Sophie Beckett being Black since September at the least. She tried to play it cool, but the day part 1 came out she started spazzing the fuck out when people didn’t automatically believe her lies I mean leaks, and said this:

She like anyyyyb has been pushing for an Asian woman to play Sophie which is okay, but when you start saying there are “too many Black people” on a show produced by a Black woman, that she needs to stop casting Black people, and that is why Sophie “can’t be Black” you have lost your fucking mind.

Bitch doesn't think its okay for a Black woman to play Cinderella who gets her prince in the end, but she's a okay with a Black woman playing a role meant for a man where shell have to chase after a while woman and will not be afforded the fairytale happy ending every other woman. Sure Jan, you definitely care about Black women 👍🏽

Again, if that wasn't enough, she’s a fucking colorist because in her racist mind, Indians aren't Asian 🤷🏽‍♀️

Her ass has also tried to use a variation of all Black people look alike just like Cass the fucking Moron to connect Masali to Victor Ali ever since she learned who Masali was back in December/January.

(If she hasn’t deleted it yet like the goofy ass remedial bitch she is it should still be up on her little hate blog).

I could say way more about this one and leak her twitter and her other tumblr(which I know she’ll try to crawl back to once she’s fucking called out for what she is), and there are also the twitter people who I’m sure are feeding “intel” to Cass and both tumblr accounts meanwhile their alleged “source” hasn’t seen all the episodes, but I’ll it there for now.

All I’ll say is that these “rumors” are being fueled by butthurt anti-Black racists who have never wanted Masali to be Sophie and the fandom is so gung-ho about believing these cave dwellers because they too are racist pieces of shit.

Why they are watching a Shonda Rhimes production and begging her to stop casting Black people, her own people, in lead roles I will never know….

Because I’m not a fucking butterface racist ass bitch who has nothing better to do with my life than to try and tear another race down and dictate what they do just to feel better about my pathetic existence.

The fact of the matter is no one has posted shit other than anonymous messages or claiming they know someone or they know someone who knows someone. The fact that these people can’t post a still or audio recording yet they all supposedly have evidence and have seen shit…

[carmensandiego-dreams-collection]

Hello Carmen Fans! I come to you with a plea for help. A while ago, a user in the tag posted about being able to watch the Carmen Pilot on TV and seeing deleted scenes that were not in the original Netflix version. The scenes they described aligned very closely with some of the ones in the Pilot's Novelization-- most notably the fight Carmen has with Sheena where she gets the idea for her codename, and the scene where Grey says goodbye to Carmen after graduating.

I was able to message this user about where specifically they saw this airing, and they said they were able to watch it on the Canadian channel Family TV, which is owned by none other than our friends at Wildbrain, the animation studio for Carmen! Stoked at this knowledge, I was then able to find the broadcast schedule for Carmen on this network:

Now, unfortunately it appears that they have only been broadcasting the pilot and no other eps for now, however, they are consistently airing them and doing so again this week! Unfortunately, I don't have any access to this channel and the original person that discovered this was never able to record them, but I'm sure there are people out there that can! So here's my quest for y'all: If you get Family TV at home, see if you can't catch these broadcasts, and if you see the extra scenes, record them on your phone!

Of course, I could also be 100% wrong here and the episodes they're airing could be totally normal-- it could have been a one-time thing that very few people saw. But even if it's a small chance, I think everyone would be interested in a find like this. I'm honestly dying to know if there's potentially more Carmen out there, and if there is, I'd hate for any of it to become lost media.

I'm tagging @csweekly here because I think a lot of Carmen fans are active again because of them, plus the episode this week is Part II of the pilot, after all!

[koreandragon]

Kdramas are in such a sorry state lately it's so sad. We're getting all these sequels for shows that mostly weren't supposed to have multiple seasons so they're a mess bc they have no story to tell. They're all dazzle razzle and no actual decent writing (taxi driver, nine tailed fox, romantic doctor etc) and then we have the 500 crime/thriller shows which are mostly deeply mediocre or downright awful. At least with romcoms if the chemistry is good and the character work is decent enough you can have a really fun show. With these dramas most of it hinges on a well written plot at which the majority fail spectacularly. News came out a few weeks ago that there are 80 dramas made that might never air bc they have no platform bc all the big ones cut the wen-thurs slot except jtbc so there are 80 dramas that will most likely rot after so much hard work and these could be great dramas, because their criteria is it will air if it has big names in it, so this is not a quality issue. Netflix really f*cked us, not only did it start the collapse of the us industry( writers are striking, actors are about to strike, shows are getting cancelled after 1/2 seasons and 8 episodes, shows getting purged for a buck, everyone is only looking for IP with big names and no one cares about good ideas or creativity) it also insidiously burrowed into the kdrama industry and changed the genres of dramas we get, the number of episodes we get, even the sequels bc it used to be no matter how huge a shows ratings were, the worst they could do was an extension, sequels weren't a thing that happened except very rarely in prodecurals like ten or vampire prosecutor. The entire thing is a sad state of affairs, another case of tech bros devastating an industry (I'm referring to the US tv/movie industry) they don't understand to line their pockets and moving on to the next one while the wreckage left in their wake will never be salvaged.

anon i absolutely agree. this is such a depressing topic for me especially because i just love cinema so much. my parents raised me to love movies then i eventually fell in love with tv shows and kdramas and it literally kills me to see the downfall of these amazing comforts in my life. i think the main reason why i haven't been here is because i just wasn't feeling like dragging through another kdrama with a medicore plot. y'all know what i was doing instead? watching old movies i've been meaning to watch for a long time or rewatching classics. you hear this every day and you could jump me for it but...they don't make them like they used to anymore. and idc how corny it sounds cause it's fucking true. exluding some very good recent movies where people making it still care about making an enjoyable piece of media (i don't give a fuck what anyone thinks of tom cruise or top gun, maverick was the only new movie in a long time that made me feel like i used to while watching movies and i literally cannot wait for the new mission impossible film). i'm a 100% with the writers strike, i really hope that they can get what they want and we will finally get back at least a fraction of something that was lost along the way. netflix was supposed to make things accessible, not turn the industry upside down and inside out then light it on fire and piss on the flames. every time i read a season 2 announcement of a kdrama i just go UGHHHHHHH. why are we adding seasons to a show that doesn't need it and why are we cancelling seasons for shows that needed to go longer to tell a story? what's the fucking rationale? oh oh OH mONEy???? netflix don't have enough MONEYYYY??? can't pay residuals to writers or renew a show that has moved people and has more story to tell but has money to make a squid game IN REAL LIFE (which is in itself like....the point flew over everyone's heads) and renewing shows NO ONE ASKED FOR?? oh what? what? more and more people are unsubscribing from your service? how could that be.....only if there was a solution to keep your subscribers by offering them quality content instead of mindless cash grabs....

i'll close this with probably one of my favorite posts on this site

[asexual-squidward]

I swear to god the universe is doing everything to get me to rewatch LOST, I feel like the Pepe Silvia meme

10 years ago I binged LOST, became a big fan of Michael Emerson in particular

Watched Person of Interest to deal with post-LOST blues

Almost a full decade passes, I become an adult and go to and leave university and get a job

Fallout TV series gets released. I see a joke post on Tumblr that mentions Michael Emerson is in it.

After watching Fallout, I remember how much I love him as an actor. I begin to revisit LOST

Go on the wiki to remind myself of the lore. Become a fan of Ben Linus as a character and Michael Emerson as an actor all over again.

LOST gets announced for US netflix (which I don’t have access to)

LOST gets announced for UK Netflix (which I do)

So yeah, the Island is really wanting me to rewatch LOST and who am I to question those orders?