rowenllyn

[rowenllyn]

possession horror where the thing possessing the autistic character causes them to behave in a more neurotypical way. autistic possession horror where the thing inside you is easier to communicate with than you are, the thing inside you doesn’t have a flat affect, the thing inside you doesn’t let your body stim, the thing inside you is how you were told to behave and you can only do it when you are no longer you. autistic possession horror where you will never forget that everyone liked it better than you before they found out something was controlling you. autistic possession horror where they know what’s inside you isn’t you and debate whether it would be easier for everyone to leave you like this anyway. you agree. reblog.

[rowenllyn]

I just know their arguments turn the ER into a war zone and every single person that works there is a collateral damage

[rowenllyn]

INITIAL CHARACTER INTRODUCTIONS S01E01 - HOUR 1 // 7:00 A.M. (writer’s draft)

[rowenllyn]

Its literally them

[rowenllyn]

Official Floor Plan of The Pitt

Nina Ruscio, the show's art director, drew this and it's one of several drawings that the set is constructed from.

Post and Info from u/Bicycle_Hill on r/ThePittTVShow on Reddit. I just wanted to share it here incase someone isn’t on Reddit or hasn’t seen it before and I’m sure some writers would find it valuable! All this info is taken right from the Reddit post so I take absolutely no credit!

This article in Variety includes this floor plan of the set. It fills soundstage 22 at Warner Brothers from fire aisle to fire aisle (the four-foot space around the edge marked by a yellow line.) The waiting and triage set is on stage 21, across the street, according to a commenter on this sub who was on the set. Look closely and you'll see the locations of doors, windows, counters, computers. At the bottom you'll see the memorial wall (curved wall next to elevator 2) and the bench nearby. There is a glass block window behind the bench with a plant behind it. The trauma rooms each have doors on three sides. There is a prep room in between them with sliding doors connecting.

[rowenllyn]

THE PITT SEASON 1 (2025) Ho'oponopono

[rowenllyn]

I was gonna make a whole gifset about this but I honestly cbf piecing it all together visually so here's a text version

that is nicotine gum, which robby chews on for the entire scene where that guy comes in after vaping too much, and where robby off the top of his head knows how much nicotine is in a pack of cigarettes/vape pod

and nicotine gum is usually used for the first 12 weeks after starting to quit and some common side effects of quitting smoking are:

anger or irritability

impatience

trouble sleeping

jumpiness

depression/sadness

which is all to say I think robby is in the throes of nicotine withdrawals on top of literally everything else going on in s1

[rowenllyn]

I think since Abbot works nights he gets majority of the GenZ nurses so he starts picking up on some of the phrases (after they explain what they mean)

Example:

Abbot: *really mad* I’m about to crash out

*Robby genuinely thinking he’s going into cardiac arrest*

[rowenllyn]

call him bubonic the way he plagues me

[rowenllyn]

Last supper doodle

[rowenllyn]

this is a sign to update your wips

[rowenllyn]

i actually never ever want AO3 to be censored bc nothing is more fun than reading the tags on a fic and going “huh. didn’t know there was a market for that.”

[rowenllyn]

[rowenllyn]

Eomer and Eowyn only talk to each other once in the films

but they communicate so much.

When Eomer first returns with a wounded Theodred, an entire dialogue is shared between Eomer and Eowyn without a single word passing between them.

This mutual look of concern, they're both on the same page.

Eowyn then goes on to look at Theodred's wound. It's interesting that Eomer now looks curious above all things, he's waiting on Eowyn's judgement.

Eowyn looks at the wound and grimaces. It's bad. Theodred isn't going to survive this.

She looks to Eomer, who looks back at her in grim resignation.

They go to Theoden to inform him of the situation. As Eomer walks by Eowyn, he doesn't speak to her or interrupt her, but he puts his hand on her back as he passes. Even when the focus is on other things, he is giving her that gesture of support and fondness. That it is done without fanfare shows that this sort of affection is commonplace.

They both stand before the throne, both of them united in their attempt to reach through to their uncle. They're a team, a unit.

Eomer throws down proof that Saruman, who Grima is trying to portray as a friend to Rohan, is sending his soldiers to terrorise their people.

Eowyn gives Grima a death glare, challenging him to refute her brother's accusations. She's on Eomer's side, Eomer's team.

Eomer sees Grima looking at Eowyn, and knows what he wants. It fills him with fury.

Eowyn sees her brother choking Grima against the wall. She looks on in cold silence, then walks away.

When Aragorn reveals that the beacons have been lit, Eowyn rushes into the throne room, drawing to a stop at Eomer's shoulder. They wait together for Theoden's judgement.

When it comes, and Theoden sends Eomer to muster the troops, Eomer bows, but even before he has fully straightened up, his eyes go to his sister.

Again, no words exchanged, simply a look of common understanding. They both know what the risks are, they both know what is at stake, for the world, for their country, for their family.

Before Eomer leaves, he touches Eowyn's arm, before walking away.

With Eomer gone, we see a steely determination come into Eowyn's eyes. Now there's something Eomer's missing, now Eomer's back is turn and there's something about his sister that she's keeping from him. She's riding to battle.

The one time they speak to each other, they're in opposition. About Merry, about Eowyn, about war.

The words are harsh. Eomer is stern, Eowyn is defensive.

But Eomer puts his hand on Eowyn's shoulder. He doesn't say "I don't want you to get hurt, I don't want you in battle", but that hand on her shoulder, tells the audience that's exactly what he's saying.

Those small moments of physical affection culminate in one great moment, when stern, stoic Eomer discovers Eowyn on the battle field, and breaks down in tears, cradling her and rocking her like she's a child.

And his devotion to her is ultimately shown in him sitting small and hunched, tucked in on himself, crouching down in armour for what seems to have been a lengthy space of time, as he sits by her side, waiting for her to be healed.

This is such an effective way of showing to an audience that two characters love each other, when there is a limited time window. The movie needed to crack on to cover the ground it needed to cover, and with so many important dynamics to reveal to the audience, the creators needed to be time effective. Eomer and Eowyn don't share much screen time, but the looks exchanged, the passing moments of intimacy, tells us clearly that these are two people greatly fond of each other, and have been fond of each other a long time.

The lack of spoken dialogue almost enhances it. Little is said between them because little needs to be said. They already know. The one time they do speak, it's when they're quarrelling, because that's the only moment when they need to use words. The rest of the time, a gesture, a look, is enough.

[rowenllyn]

I do love that in Rohan culture, it seems that it's the custom for men to go out and fight and die heroically, and for women to honour their sacrifice by crying over their bodies or at their funerals. The men are to be brave, the woman to be loving. The men are to do great things. The women are to remember.

But in the film, whereas Eowyn's most iconic moment is her slaying of the Witch King, a great, heroic deed that cements her place in history, Eomer's most iconic moment is (arguably) his guttural scream when he sees Eowyn dead on the ground, dropping to his knees and cradling her to his chest.

Not only is Eowyn's most iconic moment a scene in which she takes on, by her culture's definition, the man's role, the most important role of a man, to die heroically, Eomer's most iconic moment is when he takes on the "woman's" role, to grieve.

I do love his "Death!" charge in the books so much, but because of this parallel between the siblings, I also love the film version where there is no battle for him to fight, no justice for him to wreak, there's nothing for him to do but cradle Eowyn to his chest and rock her back and forth.

[rowenllyn]

Embroidery lessons

[rowenllyn]

Experiments.

I Am… series by @aoimikans and @swiftwidget (they’re very nice and rad writers, go give them and their fics love pls <3)