#they almost never find them

[choccy-milky]

herbology class 🌹🌿 (from chap 2 of my fic!)

[dr-gaytorius]

Have you ever been so angry you can't sleep bc you're thinking about murder and revenge. This is worse than being too horny to sleep. Shaking and crying because how can I make him suffer without it tracing back to me. Things that are normal and regular

[chiricat]

acheswan 🔥

[submaskudari]

they finally got my ass 🥹

[hemlock-dreams]

I love MJ. Peter must have really been devastated by her being affected when he was outed as Spider-Man. I have a few questions! You mentioned in the original universe she had a relapse — was it just the same universe changes that made Peter a criminal that caused there to be an MJ that was an addict? Would the venom have caused her to die in a while like most people, or no because Peter became her supplier and had presumably good control? Wouldn’t she have known the reasons he had hesitated to kiss long eventually, since he had to tell her everything to help with the venom thing? And does his venom just… come out automatically after a bit with anything, or is it possible for him to have situations where it’s not involved at all for a time? I’m sure he misses her and usually MJ and Peter are friends before they get together in many canons, so I’m really happy that he’s able to be her friend in the new universe and didn’t lose her entirely 🥺 even if he basically had to reform the relationship from scratch. (Also if Peter and Marko were such good friends, why was he willing to put him and his loved ones in danger by telling everyone?) all of this is very cool and fun ty for sharing.

So OG-MJ was an addict before she ever knew Peter(and before everything with the knock off venom.) She had been sober for two years at that point, and continued to stay sober for a few years after she and Peter officially got together.

However, Peter was always gone, flaking on all their special dates/anniversaries etc. He'd make plans and then never show up, or cancel at the last minute. And despite being super affectionate with his words, was always really physically distant. All of this left MJ feeling really alone and angry, as she was dealing with her own abandonment issues (foster care).

Eventually, everything was just a perfect storm of frustration (struggling with her boss, Peter flaking on another date, a new job opportunity not coming through) that she ended up reconnecting with some old friends who convinced her to try 'this sick new upper'.

The issue with manufactured venom (gonna call it Aurora) is that in it's impurity, it had extremely degenerative effects at lower doses. Peter's venom, while just as bad, was 'cleaner'. He can secrete it at will, but his body starts automatically pumping it when he gets excited (not to mention his fangs do not retract!!!) (They are very sharp!!!)

As for Marko, he'd been Sandman for a while before he revealed Spiderman's identity. Not only was he mentally very unstable, but he'd been very bitter over Peter going 'straight'. They were supposed to be ride or die, but Peter kept drifting away and eventually cut ties with him when it was obvious that Marko was never going to leave the lifestyle.

Then one day, during a fight with Spiderman Marko just...recognized the body language, the words, just...something clicked, then broke. Because not only did Peter leave Marko, the guy who had his back all those years in prison, his supposed 'ride or die' was also fucking Spiderman. The guy who had been actively fucking up Marko's life for years. The enemy.

Payback was an easy decision for a guy who held tight to grudges.

And for the kicker, he didn't even sell the information, just gave it to JJ for free-- that's how much he wanted to hurt Peter. Later, he would really regret it, but it would be too late at that point.

After Marko threw Peter's life into the fire, he and MJ had a blowout fight. At the height of it, MJ told Peter to 'prove he loved her' and used her own addiction as a way to control his time and attention after being starved for so long (kind of holding herself hostage).

Yeah...it all kind of went to real shit after Lmaoo

Once again, thank you SO much for the support and all these amazing asks!! <3 <3

[siriusly-the-best-bi]

wow so I have like 3 analysis in progress that touch on this topic but I really need to just talk about it rn with its own spotlight.

Aziraphale has this entire life that he's built for himself on earth, after armageddon he's thriving. When we catch up with him in Season 2 his first scene is literally him going to check in with one of his tenants, and throughout the season we see that he has a decent relationship with nearly Everyone on the block. He has an entire life for himself all hashed out and pretty.

Crowley... does not. His cold open in Season 2 is back in St. James park, checking in with Shax, finding out the gossip on Hell. He doesn't have his apartment, he only has his Bentley and the few plants he could fit in it. He doesn't have any other human friendships. His entire life and everything he loves to do is built entirely around Aziraphale.

This is something that I just find so fucking thrilling because when it comes to their characters and where exactly they are in their arcs right now, it's essentially like looking into a mirror.

Aziraphale knows exactly who he is when he's on his own. He nurtures his own relationships with humans he sees often, he's a nice landlord, he loves books and classical music, and hot cocoa. But, Aziraphale still holds onto the ideals of heaven. He still cares about doing good and being forgiving. He still cowers and jumps at the opportunity to help heaven, not because he wants to but because he's supposed to because he's still an angel.

Crowley has nothing. He has his car, which he drives to a secluded location to park every night, only to drive it right back in the morning. He's only even vaguely recognizable because people associate him with Aziraphale and this is fine for him, he could care less. He doesn't really need to know who he is or process his traumas, why would he when he can put all his attention and focus and love and care directly into Aziraphale? His friend, who has always been his friend, the one person who has always stood by him. Who cares about heaven and hell, he has Aziraphale.

When we finally see them on their own and without the influences of their head offices, we see the opposite of what we'd expect, and nearly the opposite of the outcome we see in episode 6. Crowley is the one constantly checking in with Hell (wether he likes it or not), and Aziraphale is the one who's living care free without even thinking about heaven. When he does something good that he wants to report, he just calls Crowley.

this whole dance of Crowley not knowing who he is without Aziraphale and Aziraphale knowing who he is fundamentally but not knowing how to break free from the confines of Heaven that stop him from truly embracing Crowley in the end, it's just so delicious.

[jonsnowunemploymentera]

And remember kids, the next time someone tells you, "George R. R. Martin wouldn't make Jon Snow the typical fantasy hero because that's cliche".....

Oh yes he would!

One viewer wants to know what character would you play (on the show)? GRRM: If I could magically clap my hands and become a different person, it would be cool to play Jon Snow who's much more of the classic hero. Everybody wants to be the classic hero! ABC Interview, 2014

GRRM: And the character I’d want to be? Well who wouldn’t want to be Jon Snow — the brooding, Byronic, romantic hero whom all the girls love. Meduza Interview, 2017

In fact he already has ☺️

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[prettyboysdontlookatexplosions]

It is immensely difficult to understand just how completely white Southerners wrote off slaves in their political calculations. How, we ask, could they contemplate war without worrying about the possibilities it opened up to four million enslaved people? But so irrelevant were slaves to their thinking that William Yancey, the influential Alabama fire-eater, could recommend secession as a resolution of all the old struggles. It would augur, he said, a future with "no irrepressible conflict and no domestic enemy to incite our vigilance." Black Republicans--that is to say, white Northern men and not slaves--were the domestic enemy Yancey had in mind.

Southerners of all political persuasions worried publicly and to good effect about the way abolitionists incited slaves to violence. One can readily discern the heavy weight of racial thinking about people of African descent. It was hard for white Southerners to think of slaves as "the enemy within." More than thirty years of proslavery training had mostly dissuaded them from that view. But the fear lurked just below the surface, and a benevolent paternalism always confronted a deeper antagonistic view. One can hear their conflicting emotions when white Southerners learned of John Brown's attempt to raise slave support in his raid on Harper's Ferry. One contributor to the Charleston Mercury opened with a brave denial that planters had anything to worry about at all--"they would as soon suspect their children of conspiring against their lives"--but descended quickly into a tortured consideration of circumstances in which slaves might indeed pose a threat. When "constantly tampered with," the writer fretted, faith in the Africans' good nature could prove a flimsy defense. "Our negroes are constantly tempted to cut our throats or pink us" with rifles. It was well to be prepared for the worst. Those "foot peddlers" from New York trolling the neighborhoods could "put the devil in the negros' heads," and could have been down there already "for all we know, arming the troops." The conflicted view of slaves' nature was palpable but controlled. Slaves were said to be, by nature, good, childlike, and loyal servants to their masters; they posed a danger only when white outsiders attempted to "rouse an ignorant people [by appealing] to their superstition and lust." Thus when secession dispensed with the Black Republicans, as Yancey promised, slaves would no longer represent a force of any sort.

[...]

African slaves in New World societies underwent a process of instrumentalization rather than simple suppression or exclusion. White Southerners were so deeply implicated in that process that they had great difficulty shaking an instrumentalist view of African American people even when confronted with evidence to the contrary. Rare, indeed, was the commonsense observation like that of Waltman Willey, a western Virginia Unionist, who, disparaging the secessionists' argument that slavery would be safer out of the Union, asked bluntly what the consequences of destroying the Union would be: "What then. The common national obligation [to return fugitive slaves] is destroyed. Will not the negro find out? The motives to flee across the line would be increased, because he would know that whenever he crosses that line he will be free." What Willey predicted was precisely what most white Southerners denied: that slaves had motives and interests entirely their own, channels of communication that kept them apprised of relevant developments, and allies whose help they knew to seek. It would take Confederates a long time to learn those lessons.

stephanie mccurry, confederate reckoning: power and politics in the civil war south

[iris0s]

Made some core blinkies!!!

update, I made glados and aegis ones here :3

[vynnyal]

Finally finishing totk

[a-stars-art-blog]

🎸🦈

Sooo…KlavRyan/KlavDar/DaryKlav????

[taldigi]

crisis aside I think that "kids can handle dark stories if they have happy endings" is just going to apply to me forever.

I think games are awesome for having multiple endings, especially if one of them is happy- or at least hopeful. Heck- even better if some are bad.. because that makes the happy ending better? Worth working for?

as I get older I find myself drawn less to dark and hopeless media. I still appreciate that kinda stuff when it's the middle of the story- a little bit of salt to bring out the flavors of a dish and all- but when the story ends and "they never spoke again and they grew apart" or "everyone died anyway because they never had a chance and the world is cruel and cruelty is eternal." or "they put aside their passions forever because the waking world does not take kindly to love and the path of least resistance is the correct one"

Maybe if the characters I love can face darkness and still come out the other side better people facing a new sunrise with the people they love, then maybe there's hope for me too.

im not really going anywhere with this. Im just talking to myself.

[puppppppppy]

learning abt friendship decay and "not reaching out to your friends for months at a time unprompted is not neurotypical behaviour" has me feeling a certain way

[moeblob]

(Sorry Ivan and Mia my energy is not here today, I tried but failed you...)

HEY GUYS GUESS WHAT TOMORROW IS ! ITS GOLDEN SUN ON SWITCH DAY!

[jackklinemybeloved]

Will the umbrella academy writers ever remember that being a monkey man is not actually Luther’s power? The world will never know.