#and the best of THOSE episodes is the last one

[itz-pandora]

Guys watch this before clicking read more

I have so many thoughts

THE PARALLEL BETWEEN MARIA'S WOUND AND THE DESTROYED MOON?!!! OH MY GOD!!!! OH MY. MY GOD. That's the entire reason I started writing my thoughts down because that's way past important. Where's that post about the symbolism and correlation between Maria's name and the moon because that's all I can think about

AND I LOVE how they're choosing to portray Maria recently, excited and eager for everything, even though it hurts her. Also how fascinated she is with earth makes me happy. I love the idea she'll just endlessly ramble to Shadow about Earth. Also her VA does a good job at letting you know how out of breath she is and how she's still all upbeat even tho she's literally about to pass out

Also ?!!! I AM GOING A BIT CRAZY AT SHADOWS PORTRAYAL!! I'm so hyped to see how he's interpreted in Generations. He seems so confused, and like each time period he's in impacts his personality heavily, like he's still with them on the ARK. He wants to save everyone even though he knows he can't and I'm SCRATCHING AT THE WALLS because of it. I think the way that they'll try to portray him going into the past is with him being only half-aware of everything, OR, HE'S TRYING TO LIVE A LIE TO MAKE HIMSELF FEEL BETTER. Ohmygod the second one makes me feel ill because he just wants to be happy, he wants to keep his little family together and safe, but he knows that the fate is inevitable, just wondering if he could've stopped it. It's haunting to him. The feeling of not being in control is present throughout the entire episode, where he's constantly dragged through each event, each one being more exhausting than the last. Everything is happening to him, he's not the driving force, and that's the sad part, he had an entire game about defining his identity, and still, he's always been a puppet to someone else, bent to their will.

I'M SO CURIOUS ABOUT WHAT THEY'RE PLANNING WITH GERALD BECAUSE ITS DEFINITELY SOMETHING. SHADOW WHAT DID HE DO TO YOU??? Shadow had to PHYSICALLY CLASP HIS HEAD BECAUSE OF THIS. I NEED TO KNOW.

Dude is this supposed to be Shadow's second traumatic flashback regarding the ARK, since in the hero story of SHTH, there's an entire level about the ARK where he plays with Maria as his sidekick, and it was triggered by hearing the sirens of the ARK (which I LOVE btw. Of COURSE he'd associate the noise with events since it's been drilled into his psyche before the amnesia)

I LOVE how scared he is at the end. He's sooooo panicked. I love how they give him the sparks when he's overwhelmed, it makes me feel so happy.

Who is HE?! It can't be Shadow before his memory loss, that guy did NOT SURVIVE. Also idk if they're going to return to the "pre and post amnesia Shadow are different people" thing they implied, because I think it'd be best to have it be like his memories are fragmented, and it's all about remembering, and THEN WE GET A NEW INTERPRETATION OF SHADOW?? Pls? Like not new but somewhere in between SA2 and after that, but with more little brother energy because MARIA IS HERE!!!!

GUYS WHAT ARE THOSE FLOWERS AT THE END AND WHAT DO THEY MEAN. PLEASE TELL ME SINCE THEY PROBABLY HAVE SYMBOLISM

This is so disorganized sorry I'm not normal at all

And ofc Eggman's piss was still on the moon. We love continuity

[maybe-boys-do-love]

Anticipating the ending of The On1y One, I've been remembering an interview with director Celine Sciamma about Portrait of a Lady on Fire. She said,

"The ending of it is really climaxing. Because when we watch love stories, it’s harder, the frozen image of two people leaving in a car, you know, marriage, whatever. Like the romantic-comedy ending where they end up together, then that’s the end. Eternal possession as a promise of fulfillment. Or, it’s the tragic ending, where they will never [be together]. And I really tried to find another way... It’s a love story about emancipation. And that’s so much what we’re trying to tell: it’s not about whether you end up together, or you don’t. A good love story isn’t about that, it’s about: did it give you emancipation?"

Both Portrait of a Lady on Fire and The On1y One are about queer memory and history. While one is about recovering the distant past and the other is about the past of adolescence, they each lean firmly into the ambiguous spaces of what could and couldn't be articulated. How does a work simultaneously acknowledge the potential queer feelings and relationships from our pasts alongside the limits that impacted people's ability to come-to-terms and act on those queer feelings?

So many queer plot pieces of The On1y One are left unresolved in the last episode, and it's important that we look at that as intentional. It's a disservice to a show so deeply passionate about poetry to read its narrative from a straight forward perspective. It's filled with symbols, patterns, and gestures instead of a generic plot structure. @toastofthetrashfire wrote about what we might make about the symbols of circular and linear time regarding Jiang Tian and Sheng Wang, and I think consideration of those themes ought to be applied across all the plots that mount up into irresolution at the end. Jiang Tian's history of neglect and abuse at the hands of his closeted father, the disruption of queerness into the teachers' intense platonic friendship, and, of course, Sheng Wang's young gay panic: how do we incorporate these failed models of behavior into our queer timelines? How do we offer the potential of freedom and mercy to our recollections of them and our imperfect past decisions?

We have to believe in potentials and futures that didn't necessarily arrive for them. The last image we get in the series is that ellipsis of belief, moving us forward without truly moving. We return to the image of the glass pitcher filled with mint lemon water, whole again, at least for now, and we hear a promise from Sheng Wang to come back. It's ostensibly a promise to return to Class A for Jiang Tian, but it speaks to the desire to revisit the our past and to let it revisit us in new forms, the way you're meant to return to a poem or the best books not recall an end you forgot or to learn it but to be moved.

[iprefervillains]

I was listening to a dating Podcast a few weeks ago and before you go "One where they give you tipps and shit?", let me make it clear: it was one heterosexual woman and one bisexual woman talking about the experiences they made in the dating world. Red flags, green flags, different topics like age differences, and life plans. They even had a community section where they read or played messages from their followers or answered questions or provided psychological studies and stuff. It was fun and sometimes educational. So that kind of podcast. It made me think of a hangster AU

Jake is a vet

Bradley is something else and has a dog named Bailey because Bradley and Bailey Bradshaw sounds funny to me.

Bradley and Nat have a dating Podcast called "We put the Bi in Birds" where they anonymously under the synonyms of "Phoenix" and "Rooster" talk about their dating lifes and community dating fails and fairytales. They've been doing it for a while and it's quite popular.

Now Bradley and Jake meet at the vet clinic when Javy (Bailey's usual Vet and Jake's best friend and colleague) is on vacation when it's time for some mandatory check up. Meet cute hangster were they are immediately smitten.

Bradley is the appointment before Jake's Lunch break. They get along so well that they spend the lunch break in a nearby dog friendly Café talking and getting to know each other but Bradley totally misses his chance to drop the news about his podcast.

They go on dates for the next month but there are no labels or anything even though they are only seeing each other.

Jake is whining about this to Javy and veterinary assistant Mickey on their lunch break.

Now Bradley wanted to tell him in the first week before they recorded the new episode because this way Jake would have heard a "normal" episode if he even bothered to listen to one, but Bradley missed the moment and basically spent every episode since meeting Jake gushing about him on the podcast (synonym Hangman bc he is terrible with spelling when texting) instead. Now he is terrified about Jake finding out because he admitted he fell hard and fast for Jake and he doesn’t want to scare him away by getting attached too quickly and dropping the L-word on a public podcast.

Mickey is a huge fan of the podcast and figures out what is going on after he has to take a phone call from Bradley on Jake's phone because Jake is too busy saving a little beagle to make it to their date.

So the next time Jake whines about the situation with Bradley and how he probably isn't interested at all because he is holding back and keeping secrets, Mickey just drops the thing about the podcast.

---

"OH believe me that man couldn't be more in love with you if he tried. 30 Minutes, he spent fucking 30 minutes on last week's episode talking about you and how he didn't want to scare you off by coming on to strong. Phoenix called you "the love of his life" and he didn't even tried to disagree."

"What are you talking about? What episode and who the fuck is Phoenix?"

"You would know that if you had given the podcast I recommended to you ages ago a chance. Bradley, the guy you've been seing, is Rooster on the dating Podcast "We put the bi in birds 🐦" and you are the infamous "Hangman" he's been talking about for the past month."

"What?" Jake

"Alright Garcia, how the fuck did you figure that out? I thought the podcast was anonymous. " Javy

"Jake made me answer Bradley's call last week and after listening to his voice for about 134 episodes I'd like to think I know what one of my favorite podcast host sounds like. Beside the podcast is produced in San Diego, Rooster has a dog name B and met a blond Adonis looking vet. Bradley's dog is named Bailey and the description fits Jake to a t. It would be a hell of a coincidence if those two weren't the same people. He even described your date at the drive in cinema. Now do yourself a favor and finally check out the podcast. Episode 130 is the one where you first get mentioned."

"What was the name again?"

"We put the Bi in Birds"

Javy snorts while Jake plays with his phone.

"It was supposed to be a working title but it stuck around. [To Javy] Now stop stalling if you want to hear what he thought about your first meeting before our break ends [to Jake]."

---

Later in the group chat between Javy, Jake and Mickey:

"Holy shit 🤯 he's in love w/ me."

"Told you so"

"Yeah man, I told you so too, even without having heard the podcast"

"What now?"

[Video call Javy, Jake, Mickey]

"Thx guys 😘"

"Go get him tiger"

---

Cue pretty awkward reveal were they finally have a proper talk and get together.

---

"I know we don't know each other for long, and you probably think I'm a pathetic loser for getting attached too soon, but we can totally take things slow if you prefer. You don't have to reciprocate my feelings, well at least not right away. It would be nice if you would at some point, though, but I mean -"

"For Christ Sake Bradley, will you finally ask me to be your boyfriend, or what?"

---

Now dual POV would work or what seems insanely funny in my head is Jake's POV that gets interrupted every once in a while with snippets from the podcast (kinda like the Bridgerton books where the chapter starts with an extract of Lady Whistledown)

Now, as for Bailey: it's got to be a big dog, ok? Jake can have a dog like Glen Powell's Brisket as a treat, but Bradley's dog needs to be a bigger breed like a golden retriever or a Labrador or even better, a Rottweiler. It's all scary looking, but actually a little sweetheart that wears a rainbow collar and showers Bradley and Jake with affection. It's a her in my head.

---

Is there anyone who wants to pick this up and write it? I'd be cool with someone taking over and gifting it to me on AO3. If not, then it's up to the gods whether I find the time and energy to write this into a full fleshed fic.

[physalian]

Narrative Framing Devices

This is a long one…

A story need not be told chronologically, nor does it have to be only one layer deep. There’s a ton of different ways to frame your narrative, I’m just picking a couple today, some I thought worked and some I thought didn’t, and my personal favorite.

Most people think of framing devices in terms of time travel stories or fairytales, where it may start in the present or the future and work backwards, giving up the ending before telling how we all got here. Or by chopping up the chronology and letting the audience try to puzzle out the order.

There are also those that break the fourth wall, with the narrator beginning the story directly addressing the audience but never doing so again, or the narrator opening the story telling their own story to a present audience, so we’re the audience behind the fictional audience.

The other obligatory framing device is the time-skip, a la “6 years later” or “8 months later”. I’ve already talked about those. Or the preface/preamble/prologue that may spoil some important event later in the story, or is simply an important moment or montage of moments to catch the reader up on “how did we get here”. Shoutout to Castlevania for the most efficient pilot episode I have ever seen, with a 1 year timeskip.

Also honorable mention to the “A Life in the Day” montage from Magicians, speedrunning decades of a life together between two characters stuck in a Situation, maybe 60 years? Key moments between the two having a whole romance, with a kid and grandkids, over the course of one beautiful bit of soundtrack. One of the best episodes in the show, for a sequence that only lasted a little over 5 minutes.

—

Story within a Story | Princess Bride, "Ember Island Players"

Best example I can think of, specifically the film, which is based on a book that already incepts itself. The movie opens with a regular kid being read the book The Princess Bride by his grandfather, and occasionally cutting between the kid’s reactions and the fantasy story with the actors.

There’s several moments where the grandfather either loses his place and rereads a scene that replays the same dialogue, or skips a scene in the “kissing book” because his grandson gets squirmy, and moments where the grandfather narrates over a couple montages.

Princess Bride is one of those movies that knows exactly what it is and isn’t trying to be something it’s not. It’s self-aware and loudly and proudly sincere, with one of the best revenge arcs ever put to film.

Recap episodes can either be clipshows or get really creative like ATLA, telling the series recap through the medium of a propagandized play about the Avatar's journey, performed by actors of the Fire Nation. The Gaang sits there in vague states of discomfort, horror, or in Toph and Sokka's case, thrilling enjoyment, watching their hardships and heartbreaks played for laughs. That it's the story we know, but also with the added filter of it being enemy propaganda takes what could have been just a clipshow and still told multiple layers of a story with it.

The Fourth-Wall Break | Riordan-verse, Deadpool

“Look, I didn’t want to be a half-blood” defined a generation. It’s one of those fourth wall breaks that opens up the story and never appears again, though occasionally Percy will get slightly self-aware, saying things like “I didn’t know it then, but I’d never come back here”. But for PJO it almost doesn’t count.

Kane Chronicles on the other hand chose a bizarre framing device, having the two leads pretend to host a radio show, or a podcast—something where they were recording themselves and I don’t think it worked very well whenever it popped up and stopped the plot.

Shoutout to Tangled, too, for having a fairytale style fourth-wall break at the end, much like KC, where Flynn reveals that Rapunzel has been listening to him tell their story the entire time. Many fairytale stories open up with the physical book flipping open to the story, like Shrek and Shrek 2, but I don’t think those are translatable to the written medium very well.

The big one, though, is of course Deadpool. Have not seen the second one, and while ‘breaking the fourth wall’ isn’t by itself a framing device, DP & Wolverine absolutely makes it one, fast forwarding and jumbling up the sequence of events to deliver a “how did we get here?” during the opening credits.

Chronology Salad | Memento, Predestination

Have not actually seen Memento but I know the premise, working backwards as the protagonist recovers his memory of “how did we get here?” Predestination is a batshit insane time travel story that I don’t think most people have even heard of and detailing the plot at all is giving spoilers but it is the most “how the fuck did we get here??” movie I have ever seen.

Then you have stories like Twilight that open with “I’ve never given much thought to how I would die” that spoils (kind of) the ending, with the goal of the story not detailing if something bad will happen, but how. Twilight’s prologue reminds me of The Bachelor, where they’ll tease the audience with *shocking* moments completely out of context from later in the season that are way less cool when they actually come to pass (from the one time I watched with relatives out of morbid curiosity).

The point of these chronological mixups is how all the random puzzle pieces fit together, despite essentially spoiling themselves constantly, they’re so random, so out of place, meant to keep you constantly guessing until the big reveal of the picture on the box—and are extremely tricky to do well without completely losing your audience. You’d have to have a very thorough outline to not confuse yourself while trying to write it.

Honorary mention here for Inception, one of my favorite sci-fi movies, because the plot is crazy, but still told chronologically, just across different dream levels. However, the movie does open with the ending scene (though you don’t know that on your first watch). And Tenet, but I don’t know anyone who likes or cares about that movie.

Dual Timelines | Outlander

There are others I just cannot think of them at this moment. Dual timelines tell two stories simultaneously across two different eras, either decades apart or mere hours, with some relation between the two. Sometimes one timeline’s protagonist is the ancestor of the present timeline, for example.

Dual Timelines happen in sequential order, making them distinct from a flashback arc (more below) essentially two chronological plots running in tandem squished into the same book, episode, or film. They carry equal weight and try not to overshadow each other in flair or importance.

In Outlander, Protagonist Claire is already a time traveler, in a time travel story whose rules are “whatever happened, happened, and you end up causing whatever you tried to prevent”. Season 2 opens with her returning to the present, leaving the entire rest of the season with a foreboding sense of dread, wondering what will get her back to that moment.

Season 3 dangles the carrot on the stick, randomly cutting between Claire in the 60s and trying to move on with her life for… I think 20 years, while Jaime, her love interest from the past, just keeps getting kicked while he’s down. It takes forever to get these two back on screen together. And the dual timelines continue taking up screen time when Claire and Jaime’s adult daughter also eventually makes a trip to the past. Points off for being blatantly manipulative storytelling with its cliffhangers, but season 1 is still worth the watch.

Flashbacks, Flash-Forwards, and Flash-Sideways | Lost

This show’s earlier seasons were heavily framed with this device. In The first 3 seasons (up to the last episode) the framing device was exclusively flashbacks, focusing on one of the main 13 heroes for an episode, particularly in season 1.

They didn’t always answer “how did we get here” but told some story relevant to the character in the present, either a challenge they had to face or parallel relationship drama or ghosts come back to haunt them. Usually, these little flashbacks were told in sequential order, but they could hop months or years ahead at a time depending on the episode.

The flash-forwards began in season 4 and closed the gap between the “Oceanic 6” escaping the island and all the missing time while they were gone, before the infamous “We have to go back” line.

The show also had flash-sideways, which featured the main cast, many of whom had been dead for a few seasons, reprising their roles to show what could have been their lives if they never crashed. To… mixed reception.

The show also also had a time-traveling character who in-universe experienced flashes of the future and got mentally temporally displaced between two timelines for a hot minute.

Lost was… a show that demanded a dedicated following. I still love it.

Flashback Arcs | My own personal soapbox

This right here is the whole reason for this post. First you have flashback episodes and I can name a lot of those—ATLA has a couple, “The Storm” & “The Avatar and the Firelord” but both are technically “stories within a story” with characters either around a campfire telling it or reading about it. The alternate timeline takes up a majority of the runtime, only occasionally cutting back to the present characters for a reaction.

In TFP there’s an offbeat flashback episode “Out of the Past”, framed, again, as a character telling this backstory stuff to another character. Many, many vampire stories will have flashbacks to some degree, since their characters live for so long. Vampire Diaries, especially in the earlier seasons, had dozens of them filling in all the blanks back during the Civil War when the two leads, Stefan and Damon, were competing for the affections of the main villain, all leading up to how they were turned, and how she allegedly died. Once the Originals were introduced, the show then had flashbacks to a thousand years ago, when they were human, and various eras in between.

True flashback episodes don’t waste precious minutes setting up a framing device, they just dump the audience in an alternate timeline and let them figure it out on their own that something isn’t right.

But none of that comes close to the full-on Flashback Arc. I. Love. This. Trope.

I actually first saw it when Arrow was good in its earliest seasons, cutting fairly equally between a present-day Oliver back home and starting his hero journey, and him learning combat back in the past, over several episodes like a series within the series.

What you end up with is a happy medium between a full dual timeline and a random grab-bag of flashbacks as they become necessary to the plot. A flashback arc relies entirely on the existence of the A-plot to make sense, as opposed to a dual timeline where it’s essentially two self-sufficient stories rolled into one big narrative. This arc is substantially shorter than the rest of the plot, cutting the story it’s telling down to the absolute need-to-know moments and cutting all transitions between the two. These arcs tend to cover weeks, at minimum, and decades of a long life at most.

I think they're best implimented after the first book, film, or season. Not something you want to throw at your audience who barely knows or cares about these characters, so if you're stuck with ideas for a sequel, consider the Flashback Arc.

My favorite thing that I have ever written (sans ENNS) was for my sci-fi WIP, a C-plot flashback arc in 13 parts. They started out as in-universe nightmares to give credibility to when these flasbacks started occuring, framed around the character's reaction to the scene, but then took off independently to avoid redundancy.

This arc covered his time as a POW, telling the reader how he came to be the living weapon he was, and the first detail it opened with was the reveal that he wasn’t the only one of his kind, he’d lied and shouldered the blame of every atrocity to protect the others, as their numbers dwindled and it all fell into place. A truth he wouldn't tell with a gun to his head.

Because you already knew he lived, because he’s right there in the present A-plot, the arc wasn’t telling you if he’d survive the war, but what he’d do to survive, and how it all fell apart. Because it was framed up with the existing narrative, I had a lot more leeway in omitting details and dropping the reader weeks or months ahead as opposed to this being a completely fresh story with new characters. You knew immediately based on the tone that this POV was the C-plot flashback POV, and you knew the only person who could narrate it was my poor character.

Over 13 POVS, 34k words (of a total whopping 202k), I told a whole love story, established and killed off 10 characters, and gave heaps of worldbuilding lore and exposition to fill in all the blanks in the present and answer questions that this character would never, and revealed just how much he lied about and why.

All of this tied in with the A-plot, staggering the physical placement of POVS within the book to hit at the right moments tonally and as the character’s condition kept deteriorating because he refused to talk about What Happened. His reason was that he’d done all of this and suffered so much to keep their legacies pure. If he gave it up now, he would have done all this for nothing.

And this was some heavy shit. There was murder, suicide, death by giant alien super robots fond of ripping people apart, assault, mercy killing, torture, gaslighting, and psychological horror. One of my magic systems let magicians regrow limbs alchemically, which meant they could endure a shit ton of pain and just get reset to do it all over again.

It was a lot.

But because it was just in flashbacks, I gave you just enough dark shit before cutting back to something marginally lighter, not just one long slog of misery. There was also the unknown of how quickly it would end. The book would end when you hit the last page, but you had no idea which flashback POV would be the last.

And also.

I got to flex my writing skills to the fullest, writing this character’s flashback POV in a completely different tone and style to make it that much more distinct from the rest of the present book.

ENNS’ sequel is very much under construction, but the one thing already polished is a flashback episode packed into one chapter for one of my characters. It’s perfectly knife-twisty and I can't wait for people to read it.

—

There’s dozens of framing devices out there. Most important thing, I think, is not sacrificing audience understanding for the sake of something ‘cool’. Doesn’t matter how amazing the story is if your audience gets completely lost and confused trying to keep up with what’s going on.

If you'd like to check out my book, Eternal Night of the Northern Sky is available now!

[umblrspectrum]

go read Memento Nori and Like the Stars and What Friends Are For and just generally all of Ad Astra Per Aspera by LadyDaybreaker on ao3

[lacallemojada]

'Cause now I'm in it and I've been trying to find my way back for a minute.  And the rain keeps coming down along the ceiling. And I can hear it but I can't feel it.

[woodlouseonastring]

i just finished the terror and ouhhhhhgg

[magentagalaxies]

sometimes being the director of the buddy cole documentary is an emotional rollercoaster for reasons entirely unrelated to actual controversy with the character

basically. this morning paramount took down the comedy central website and made every link redirect to paramount plus (which i do not have). previously you could find clips from every time buddy cole was a correspondent on the colbert report for free on the comedy central website, but not only are those free clips no longer up, paramount plus doesn't even have the colbert report.

so even if this craven attempt to get people to pay ransom subscribe to their streaming service worked, they didn't even take the clips with them!!!

so i was in mourning for a solid few hours this morning bc like if i'd known this was going to happen i would have at least screen-recorded each of the segments even if it meant the audio sync was a little off. but i had no idea this was going to happen and now yet another piece of buddy cole media was lost forever. and i'm used to having gaps in my timeline. stuff like scottland and the lowest show i've only been able to watch bc bellini happened to have a dvd he could digitize. and stuff like the buddy cole funny or die clips, out on the edge, and the ctv royal wedding special i may never see. but when something like this happens in real time after i've already dedicated myself to preserving and documenting the works of buddy cole, it really stings

i know i shouldn't feel like i somehow "failed buddy" for not preserving these episodes. i had no idea comedy central's parent company was going to throw out so much of their content, we're just in a literal hellscape with regards to how corporations value art. but i can't help but feel a little protective of buddy - not protective in terms of controversy, per se, controversy is a natural reaction to everything scott does with buddy cole and i don't always have to agree with everything the character stands for. i've already gotten a taste of being in my own buddy cole controversy, and it was horrible but it also felt like this is what's supposed to happen because we're now able to have this conversation. but being completely forgotten? that doesn't feel natural one bit even though it keeps happening to so much of this character's timeline.

anyway, i pasted the links into the wayback machine and even tho it could load the interface it couldn't load the videos. i found a record of each episode on the internet archive but they're all chopped into 1-2 minute clips, there's an option to "borrow" full episodes and have them mail you a flashdrive but i have no idea how that works and if i'd then be allowed to copy the episodes onto my own computer. i eventually found the colbert report is still available to purchase on itunes for $1.99 per episode - i'd need four specific episodes so that would be more like $8, which isn't too bad, but still stings just on principle. plus, what if that iTunes interface goes down someday? the only colbert report dvds are "best of" and even if i think buddy cole is the best part of anything he's in, the people making the dvds probably don't.

[transk0vsky]

No but seriously mirage Casey, 03 Casey and idw Casey are probably the best written versions of Casey

And it’s probably because those three get more time to be fleshed out (especially mirage and idw since they have solo issues that give them moments away from the rest of the group!) like just ughhh!!

[carefulzombie]

actually thinking back to my first time watching atla as a whole is kinda hilarious to me. i had NOT watched every episode when the finale aired - in fact i had missed good chunks of it because the show ran from when i was 6 to when i was 9 and i obviously had no idea how to go about watching all those missed episodes - and by the time the show wrapped up i was just like “oh good! they defeated that guy they mentioned needed defeated in the intro! good to know!” and it wasn’t until they re-ran and marathoned the series on loop on teen nick a couple years later that i sat down and watched the series proper lol

[youremyonlyhope]

I forgot to watch Survivor tonight and instead watched a 60 minute long video essay called Martha Jones Deserved Better (And Other Correct Doctor Who Takes)

I regret nothing.

[satturn]

and so they ride off into the sunset

[dogearedheart]

8i've been thinking about the last asks i got today. and i think it's better for me to take a step back from this account. i know the anon didn't mean anything by it, but i still feel like i am being a negative presence on here and weirding people out with who i am is nothing i want. so, i am not deleting or anything. i am just gonna be less present with sharing personal things or leaving tags. I'll probably be more active on my second account where i don't have that many followers :)

[coquelicoq]

i think of all the books i've ever read, le père goriot takes the prize for taking the longest to get interesting, as it doesn't happen until the very last sentence. i'm just bopping along for over 400 pages of whatever and then he slaps me in the face with the last sentence and immediately peaces out. okay you got my attention, just in time to throw it away. respect.

[mishtershpock]

.

[theflyingfeeling]

...🎻

me @ literally everyone else: your feelings are valid! you have the right to feel the way you feel! you are not a burden! ❤️

me @ myself: your problems are trivial and actually you are being silly and petty and self-centered for having any sort of feelings about anything ever, also you should stop confiding in people while having very little to offer in return because people will find you tiring to deal with and that's why you're only capable of maintaining shallow casual relationships 💅