#AND IT IS

[4077th]

[how-do-i-turn-this-thing-off]

The Most Abusive Relationship in TLJ

Spoiler: it’s Kylo Ren’s relationship with Everyone

Luke.  Tried to kill him.  Han and Leia.  Sent him to live with his uncle at a very young age in a weird, cultish, very isolating environment.  Then his uncle tried to kill him. 

Snoke.  Please, do I even have to?  Tosses him around like a rag doll, has thrown things at him before, shocks him with Force lightning, constant mental and emotional battering ram.  Hux.  Manipulated by Snoke just as much as Ren is, made to hate him as an extension of Snoke’s obsessive control over them both.

We got attempted murder, abandonment, betrayal, torture, beatings, electrocution, manipulation, threats, relational aggression, conditioning, physical, mental, emotional, yOU NAME IT.

Symptoms of an abuse survivor include, but are not limited to: anger or aggressive behavior, disassociation, irritability or outbursts of anger, self-harm (hitting his own wound in TFA), running away, difficulty sleeping (have we ever seen Ren sleep? have we ever seen any indication that he even does?), seeking out high-risk/dangerous pursuits, intolerance of or constant search for intimacy (everyone but Rey, Rey), low self-worth, difficulty assigning trust, I COULD DO THIS ALL DAY.

Every single time I see something about abuse in TLJ it’s Ren as the abuser.  Every.  Single.  Time.  So here’s something slightly different, my very small attempt to weight the other side of the scales a little and even things out.

[teaboot]

I used to dream of finding Home.

Somewhere between my tweens and my teens, the house my family lived in stopped feeling like a comfortable pocket where I belonged and started feeling more like a roomshare with strangers.

I'd read a lot of books. A lot of stories about outsiders and misfits who fell into grand adventures that led them into perfect little keyhole they were destined to slide into. I thought that someday, in a much less exciting or eventful way, the same would happen to me. If I worked very hard to be good and kind and forgiving then I'd stumble into Home.

It never happened.

I moved from town to city to country, and didn't find it. Every building felt the same, no matter how long I stayed. None of them felt natural, or easy, or safe.

I was living in a dilapidated loft above a busted-out mortuary when I figured it out.

No running water. No heat. No AC. No furniture or mattress or internet, and a dusty bathroom with a broken toilet and a sink inexplicably pre-filled with cigarette butts, and it finally clicked.

I ripped out the old carpet. Swept the floors. Taped the sun out of the windows with foil and foam and big black garbage bags. Cleaned off an old shelf, stole a cot, piled all my blankets on top of it, painted pictures and taped them to the walls and spray-painted a mural and leaned a tarnished old mirror up against the wall.

I found a room divider in an old office room and took a lamp left out with the trash and set up an empty coffee pot with cheap silk flowers. Hung a shower curtain in the morgue and turned a storage bin into a bath and hooked my towel on a loose nail stuck into the wall.

And when I left, and left everything behind, I found another little empty hole in the world and did it all over again.

That's something I don't think I could have learned from all my stories. It's not something very interesting to read about, some lonely stranger puttering about by themselves in a hot, dark room. But it's important to share it, I think, so I've done my best.

I think that a Place is a beast, and to make it a Home, you have to dig in your claws and fight for it, tooth and nail.

Then, once you've tired it out, string up lights below it's ribcage and pet it nice between the ears until it purrs.

[dozeysheepart]

already posted this on my main but im posting it here too anyways

[thealogie]

I do love that every good review is GENUINELY like why must a tv show be good? Isn’t it enough to watch David Tennant and Michael Sheen enjoying their jobs enthusiastically?

[salty-ironstrange-shipper]

Me listening to any song: WOW, this is about the fic I'm writing

[demilypyro]

This game thinks it's so fucking funny

[kvtnisseverdeen]

GET TO KNOW ME MEME: FAVORITE FILMS 

↳ Titanic (1997) dir. James Cameron

"A woman's heart is a deep ocean of secrets. But now you know there was a man named Jack Dawson and that he saved me in every way that a person can be saved."

[blahlahblash]

Day: 19 "Cat Cafe"

we don't talk about the gray cat guys

or this drawing.

ever.

[celestialvoid-fanfiction]

Sterek AU: The Hale family owns a villa in Italy and they're vacationing there, renting out the room to a young man named Stiles. Derek initially finds Stiles irritating because he flirts with Cora and the other girls, but he always seems to fail at winning them over. And when responsibility falls upon Derek's shoulders to look after their guest, things get a little tense.

Stiles asks if there's any dos and don'ts when talking to the locals, especially women, but Derek says he doesn't know.

"What do you mean you don't know?" Stiles asks. "I mean I don't know," Derek replies, tense. "How can you not know?" "Because I don't flirt with women. I'm gay."

Things from there on out are very quiet between the two of them. Until one night - when Stiles comes home from a festival with Cora, covered in mosquito bites and very uncomfortable. Derek brings him an ointment that he made to help and helps Stiles treat the bites.

As he’s lathering the cream on his legs, but freezes, hesitating for a moment before bending forward and kissing Stiles' shin. He freezes, waiting for Stiles to object, to shove him away, kick him, whatever. But Stiles just meets his gaze.

Derek trails kisses up Stiles’ leg, stomach, chest, growing more and more impatient and faster before crushing their lips together.

They end up lying back against the bed, limbs entangled and passionately making out. Between kisses, Stiles says that he doesn’t want to have sex, and Derek understands, asking if Stiles is still comfortable kissing him. Stiles says yes and they lie down together, eventually drifting off to sleep.

The next day, they head into town to get breakfast at a café when Derek gets a phone call. He says he has to leave and he’ll call one of his sisters to pick Stiles up, but Stiles begs Derek to take him wherever he’s going. Not wanting to fight, Derek agrees.

Derek takes Stiles to the house he’s renovating across town, and the construction workers had called because the water main had burst. They both get drenched trying to fix it and once the problem’s dealt with, Derek looks at Stiles and starts to apologise when the young man bursts out laughing and Derek can’t help but join in; that laugh is contagious. 

Stiles tells him that that was the most fun he’s had the whole time he’s been there.

So, over the next few weeks, Stiles helps Derek out and they spend time together and sleep together. A month later, Stiles has to go back home, but Derek doesn’t want to let him go, so he finishes the renovations and asks Stiles to move in with him.

Stiles says yes.

[dovewingkinnie]

William and Toy Freddy get set up on a blind date with each other. Toy Chica orchestrated the whole thing.

hes not getting out of this alive

[kenzie-ann27]

So come back, Barack

We need you, oh so bad

“Come Back, Barack” | Chance the Rapper, Chris Redd, and Kenan Thompson

[yashaslilaceye]

Critical Role is being featured on prominent news outlets and for a lot of people THAT thumbnail is going to be their first impression of the show.

Very on brand of them.

[bugsbenefit]

i know we talk about Mike and Will and how important they are for the plot of s5 here all the time. but can we talk about how Insanely set apart the two of them are from everyone else by the end of s4? because yes, we already know they'll be important, s5 is going to be Will's coming of age and the kids have Always been the main focus of the show. hell they're literally the center of the ending shot of the entire season can't get more obvious than that:

everyone else had their shot at ending things already and failed, s5 would just be a repeat of s4 if it weren't for Will, Mike, Jonathan, Hopper, and Joyce being back in town for the rodeo this time around. this will be what makes s5 have a different outcome than s4 did.

but what really fucking gets me is that it's not just visually or thematically made clear how central Will and Mike will be to taking down Vecna. it's in the way the last moments of the season were written from a fundamental writing perspective because:

Mike and Will are the only central characters to never get confronted with Vecna for the entirety of the season. however. s4 ends with Mike and Will being the ONLY characters to know Vecna is still alive.

literally the only fucking ones.

i think that aspect gets lost sometimes. We know Vecna is still there because we just watched them have this conversation. the other characters DON'T know that. on that hill and in the entire town, right now, Mike and Will are the only one's with a concrete idea of why spores could suddenly start falling from the sky despite them having 'won'. they're not questioning what's going wrong because they already Know. they already came to the conclusion that they would have to kill Vecna for real. they're already over the initial shock and horror at finding out it was all in vein. they're literally ahead of everyone else.

from a character perspective this doesn't make much of a difference. s5 is supposed to pick up right where s4 left off and it's obvious that they'll fill everyone in on that immediately. they're not keeping that info from everyone they just didn't get the chance to share it yet. BUT. that is a conscious writing decision. it would have been a 30 second extension to have them quickly tell this crucial information to everyone outside the cabin or have maybe El overhear the end of their conversation in the cabin, she was only a room over after all. but they didn't do that. so we end the season with Mike and Will being the only one's on the same page as the audience.

Mike and Will being back in town is going to be pivotal to Vecna's end and we're being told on a thematic, visual, and writing choice level

[sapphia]

look, you cannot "headcannon" that the mona lisa was fake without destroying the literal text of the film. the mona lisa is epstein island, and miles is presented as untouchable because that's how billionaires literally are. nothing can be pinned on him, not with any real certainty, because his resources are unfathomably vast. he is just that powerful. it is not his murder that damns him, not his corporate crimes, not the recklessly negligent energy source, not the actual things that we know he has done to get to where he is. had only the glass onion blown up, it might have dealt him a blow financially and smeared his name and dragged him into court. but he's a billionaire. it wouldn't have ruined him. people wouldn't have cared enough to see that he actually goes down for what he does. we know that because it happens all the time in real life.

but the press coverage of destroying the mona lisa that he had in his possession only through corruption and backdoor dealings? that people will notice. it is the literal on-screen symbol of his power bought by wealth, and his sheer arrogance in thinking that he is above all rules because billionaires are above the rules that brings him down in the end.

as fun as it is to think that miles is so stupid that he was tricked into believing a fake mona lisa was real, it doesn't compete with the actual brilliance of film in taking the concept of epstein island and turning it into a light, family-friendly parable for child sex trafficking and somehow make it darker. because unlike epstein, it's not what miles does to people that matters. not the actual harm he does to them, the death he causes, the death he will cause if he's allowed to continue. only his destruction of a painting.

and it's supposed to remind you that in real life, epstein was murdered in his cell. miles gets justice in the film because it's a film and it needs a happy ending but it's not just. it's not for the crimes he deserves to punished for. in glass onion, the world is broken, and it's a reminder that ours is too.

because this isn't a film, and we didn't get a happy ending. here in the real world, epstein’s co-offenders were never caught.

[wilbyssoot]

Dream smiling and speaking in a taunting tone as he advances on Tubbo who doesn’t stand a chance: “Tommy, he’s gonna die. Tommy, he’s gonna die! He’s gonna die, Tommy!”