#this person has no idea who i am

[oh-my-damn]

Typical racist chris evans fan/// what?! According to mod I can't be racist because I'm black. 🙄🙄 Mod, how's your Nazi grandfather? I know you like thinking you're so different from him because you have ✨pronouns in your bio✨ but you're just as prejudicial, racist and ignorant. 🖕

This entire ask is wild but also so wildly wrong that if you actually understood the severity of what you were saying right now, I would hope to everything holy you wouldn't be saying it.

But then again, assholes rarely change, do they? So you probably wouldn't.

I wasn't going to honor this with one of my responses because, truly, you do not deserve one of my well educated elaborated responses that I am so famous for making because of your shit personality, but then I decided, you know what? This is enough.

This is enough to trigger me. This topic and the word you used is entirely enough to trigger me into ranting.

So I will.

It is almost 6am as I am writing this and I have been drinking wine for the past 10 hours so excuse me if this is not as elegant as I could have delivered it under sober circumstances.

But then again, would I really have delivered this under elegant circumstances even if I was sober? I don't think so.

I am my fathers daughter. And while me and my father disagree on many things, there is one thing we heavily agree on.

There is one very very important thing he taught me from an early age.

And that is, if people fuck with you, you punch them in the face.

So I do hope you didn't have a nose-job recently, anon. Well, to be honest, I don't give a shit if you did. Were you standing in front of me right now I would have no apologies for you. I still would have punched you in the face.

And as a descendant from Vikings, and knowing that that is the only information anyone on here knows about my true form outside of the internet, let me tell you.... It would have hurt.

And (hopefully) broken your nose.

Now.

Most people who have followed me for a while will know that I am from the Nordics. They will even know I am Scandinavian. I am. Very much so. Painfully so.

So what you just thought out in your mind and then decided to type onto your keyboard and eventually send me is highly offensive.

I don't often say this, but I will say it to you. Because I truly mean it.

May you die a terrible, just purely awful, death.

What you have written to me is, and I mean this sincerely, despicable. I hope you are punished for it.

I study law, and while I know that nothing I'm saying right now are eligible as threats, I would not mind being blamed for it if it came to that.

You're a bad person.

You're a terrible person.

I hope none of your family members hug you ever again. I hope you live your life knowing that they're ashamed you. If they're not, then please know that the rest of the world is.

You're shameful.

You're despicable.

You deserve nothing good in your life.

You sent that message to someone because of an actor you don't know, someone who doesn't even know you exist, in defense of him.

You did that for absolutely nothing, it means nothing and will achieve nothing.

But I won't stand for it.

I was not raised to stand for it.

I will tell you this, though –

You crossed a boundary. And if you ever, and I mean ever, return to my space with that sort of language directed towards INNOCENT people expressing their opinion, I won't be the only person pursuing you.

Because what you're doing is illegal in a lot of countries. Maybe not in yours. But in a lot of others. And we have the right to sue you for slander.

And as someone who studies law, who has previously admitted to being extremely privileged, let me tell you; getting out of it won't be easy.

It will be very painful. And it will cost you a lot.

So I hope you're ready.

[astradyke]

warning this might be a nothing post i'm just a little emotional & rambling but like... i think a lot about hometown showdown and gay and not proud a lot. and i understand this was in the peak of YouTube's fuckery with Dan and disrupting his plans for DINOK so i understand there's like a tension behind a lot of what was ongoing. i also realize that YouTube-- more obviously with hometown showdown-- but generally had strong business rationale for wanting Phil to feature in these videos, with Dan & Phil being the duo of HS and Phil being there in gay and not proud (sorry the acronym for this looks ugly).

but man... i think a lot about how hometown showdown was just kind of a lot of dates. i've not seen the other ones but i hear a lot that they were way more competitive versus Dan and Phil were just casually exploring their hometowns together, showing pieces of themselves to the other. i think about all the dialogue that was cut (that I think was alluded to in WDAPTEO 2?)

and i think about like. the seismic Importance of Phil being in gay and not proud as like... Dan's safe space. the same way he's remote crisis manager, the same way he was part of WAD's pre & post show, the same way he filmed that haircut video basically to promo YWGTTN and Dan is leaving me to talk about WAD. the same way that Dan got a taxi to his place after his nightmare experience at the laundromat to do laundry because "for the first time since I was a tiny child, I actually felt safe."

and after the latest mukbang it's like... it's really insane to me how their personal relationship has continued despite the pressures they've faced as being a comedic influencer duo. the fact that they work as business partners but still have this relationship. the fact that even in these YouTube originals that Dan was resentful of at the time anyway you can still glowingly see how much they love each other. like Phil being in gay and not proud wasn't a cameo, it was a fucking love confession.

i dunno. this is something that's been talked about a Lot but i do think about it frequently. i don't tend to rewatch these specials a lot because Jesus Christ the editing really gets me, but like... idk. "you're next to me in my life," or whatever. 15 years have passed and Phil's still cheerleading for Dan, from his first YouTube video to his first solo tour. i dunno.

[eternity-death]

Sunday thought of the day:

Sunday likes to leave traces of himself on you.

He’ll adorn your neck with beautiful jewelry, classy and not too gaudy, made with precious stones that were imported from other star systems. Your favorite dress was commissioned by him, hand-made with the softest fabrics and finest stitching (Sunday reviews the stitching himself. The seamsters who worked on the apparel can only stand there with bone-chilling anticipation as Sunday silently— meticulously— scrutinizes the sewing. He only wants the best for his darling, after all). He’s bought some aromatic oils for you too. When you get ready in the morning, he takes his time massaging it into your wrists and the pulse points of your neck (you don’t seem to realize it’s the same scent that he uses).

They are all symbols of affiliation— a claim over you that remains unspoken. Despite this, others are not ignorant to the tacit message that reflects off of the glimmering stones in your necklace, or the luster of the silks that swathe you: you are involved with Sunday, and one should remain circumspect in their interactions with you.

[bibewilderedandbuck]

Imagine Buck saying “i love you” first and for the first time Tommy feels behind. He feels like maybe they are moving too fast.

Then he has a talk with some of his team. They’re not AS close as the 118 but they put their life in each others hand’s on the regular and that counts for something.

Andy asks Tommy about last week, when Buck was complaining about his apartment being so far so they started talking about moving in together? Aubree mentions how much he jokes about buying a ring for his beau, and Tommy sits back because he does joke a lot about (he hasn't spoken to Evan directly about it but anytime the kid does something sweet he asks him his ring size). Lucy mentions the time they spend talking and texting, she calls it nauseating with a wink, but Tommy doesn't remember the last time he wanted another person in contact with him at all times and who returned the feeling tenfold.

And after all, with their job they could die any day. He sits in his kitchen and replays the moment Evan said it again and again: "I know I'm dragging you through milestones like a cat with a mouse, and I want to let you know that you don't have to say it back. But I love you, Tommy. You mean a lot to me and I'm so happy we met."

Nine months is the longest relationship Tommy has ever had. And he still wishes he could spend every waking second with Evan.

By the end of the night he's barging into Buck's apartment and sticking his tongue in the younger man's mouth. He stands back and pushes his chest up and smiles and says "I love you too, Evan."

Buck is laughing, he's smiling and kissing his boyfriend back and hugging him tight. He can feel Tommy's heart racing when he puts his hand to Tommy's chest. He expected it to take longer. He'd heard about all the ways Tommy had been hurt before. But in the end it only took a day

then they hear a flush and Eddie walks out of the bathroom. He's smiling because Buck's loft is Not Big and he might have heard every word. For just a moment, they all stand in silence not uncomfortable per say but definitely charged.

Then Eddie says "I love you too, bro." Buck lovingly rolls his eyes and Tommy is cracking up. If it were anyone else he'd probably feel embarrassed but Eddie has shared friendly declarations of love before and its not uncommon for the L word to be passed around a 118 dinner party like hors d'oeuvres.

[badnewswhatsleft]

(x, x, x, x) patrick aegyo king 🫶

[ubejamjar]

⚔︎ If you'll be my sword, I'll be your shield ⛉

[dykedvonte]

Something something perhaps the reason Curly lacks a truly undamaged ID where his face is visible is to represent how much damage Jimmy had already affected on him throughout their relationship and the way Curly obscured part of who he is and what he stood to unintentionally cater to this toxic influence in his life.

[lunarharp]

played dragon age 2...just simple scribbles

[alexjcrowley]

Met Jason Schwartzman today, at the Venice Film Festival. I think at least 20 people completely surrounded him after the showing of Pavements (2024). He ws so incredibly kind with every single one of us, very soft-spoken, took the time for an autograp or a picture with everybody, and I mean, l EVERYBODY (security had to tell him numerous times to get put of the cinema because they had to show another movie). And even outside the cinema, he kept chattering with us and taling pictures and singing photos and programs of the Festival. He thanked us numerous times for coming to see him, seeing his movies, paying him compliments. He seemed almost as happy to see us as we were to see him. I got to tell him that one of my favourite movie characters of all time was Max Fischer, from Rushmore (his first movie ever). He was pleasantly surprised, a little endeared dare I say, thanked for that and I think he paid me a compliment as well but I kinda blacked out from the emotion. I just remember that at some point I said "Thank you for being you" and he said "Thank you for being you" and I still think I died on the spot and I am currently in heaven. It was such a nice moment, I wanted to share.

[formosusiniquis]

Aging rockstar Eddie Munson who goes viral on tiktok after dueting a fancam of him and Stevie that is backed by the bi wife energy audio.

It's shaky, clearly a spur of the moment response, Eddie is obviously captivated for a second by a clip of Stevie that starts to play. He sighs and directs his attention back to the audience. "I love my beautiful wife, the sun to my moon, the light of my life."

You can just make out another voice from somewhere in the background call out, "Love you too!"

"But I did not survive being an openly gay teenager in the 1980s in rural Indiana to be called a heterosexual!" 

He zooms in closer to his face, it's unclear whether this was intentional, "I did not go through a sexuality crisis in the early 90s when she transitioned, to be called a heterosexual."

Stevie comes out from somewhere behind where Eddie is ranting to drape herself around his shoulders, "Oh that's a good picture of us." The original video is a step above thirst trap and the picture in question is a pap shot of Stevie and Eddie from a long past Halloween. Stevie is in the famous Farrah onepiece and Eddie is in first husband Lee Majors' Six Million Dollar Man red tracksuit.

"You just like it cause we actually ran into Farrah and she liked your hair."

"It was also-"

She isn't dislodged as Eddie fails, well practiced at staying on her perch. "I didn't cancel the back half of our 1995 tour because of morning sickness to get called a HETEROSEXUAL!"

Stevie's smile is indulgent and soft, it wrinkles the corners of her eyes in soft crows feet that betray her age. "You can be trans and straight."

"A fucking ally then!"

She's got a sage Mona Lisa smile as the video ticks to a close, "I love my husband, and he's actually bi."

[greenerteacups]

oooh please someday tell us what you think of GOT

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

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

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

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

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

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

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

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

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

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

[heliomanteia]

Organizing & contamination OCD Will Solace 🤝🏼 OCPD Annabeth Chase friendship forever in my head.

[ctl-yuejie]

a taste

[rainedroptalks]

Everyday I think about Penelope Everpetal and feel like ripping my hair out

[dykedvonte]

My post about Anya is making like a little ruckus on Twitter and I think it’s crazy how many people like have a problem with it.

Like you don’t have to agree with how I characterize Anya and her actions but it’s more like, why are you focused on only one aspect of her character? Why are you removing nuance from the situation? I don’t see it as giving Curly the benefit of the doubt when it comes to doing better for Anya, but as exploring his character and hers relationship with a the very little authentic facts we get about them. In truth, there’s a lot more I wish Curly did, even if it wasn’t pragmatic but I realize the issue there.

The first psychological horror game in a while that’s real intricate in its storytelling and makes you need to really need to address the morality of intentions and its already getting torn asunder smh 😔

[fatuismooches]

EVEN MORE CUTE DOTTORE MOMENTS TO MAKE YOU SMILE 🙏 (because I am too tired to post anything of quality)