#and then the lines better from different

[beguilingcorpse]

it drives me crazyyyy that like. palamedes is out at canaan house with tenderness in excelsius for dulcinea. the perfect regency era gentleman. every moment is the pride and prejudice hand flex scene. if the pov character was attracted to men even a little bit the narration would be filled with swooning. he’s lowering her gently into chairs and handing her tea so that their hands brush and looking at her with those big grey eyes of his. and all of it is WASTED because it’s NOT dulcinea it’s CYTHEREA. FUCK

[jackklinemybeloved]

[…]

Percy’s warning to fellow half-bloods in the audience, across different mediums.

The Lightning Thief by Rick Riordan (2005) The Lighting Thief: The Percy Jackson Musical (2017) Percy Jackson and the Olympians Series Teaser (2023)

[tam--lin]

The thing is, you don’t have to have a diagnoses to make simple “unmasking” changes that make your life easier. You don’t even have to self-diagnose! You are not appropriating anyone’s culture or struggles or hijacking anyone’s movement by allowing yourself to sway in line at the grocery store or buying a weighted blanket or using study or household hacks intended for people with ADHD. If you start favoring the needs that make your brain and body unique over the arbitrary norms of society, you’ll be better off, and you’ll be expanding the norms. It’s a win/win.

[hoshiina]

pairing: narumi gen x gn!reader (no prns)

summary: he's always thought that anyone would do if he just wanted to find love but he realizes you're the one he wishes for, inspired by pop song by yonezu kenshi

warnings: some profanities from narumi

wc: 1300

Narumi Gen hated a lot of things, but one of his least favourites of all time was "true love". He despised when people would describe their love for another as "true love". It couldn't possibly be that serious. Just say you loved your partner. That was probably the extent feelings got to anyways— you just so happened to like each other at the same time. To him that was plenty of a feat alone, why would you have to make it sound like more than it is? For the sake of love? Ridiculous.

To him, that was truly all love was. If there was someone who liked him when he happened to like them too, that was enough. No need for years of pining, no need to get attached to some unrequited love. All that noise about love and destiny surely wasn't all that necessary.

Now, this wasn't to say that he didn't wish to find love— because he did. Like any other person, he truly wished to be loved. It was just that what he had in mind wasn't some deep pure love that'd last forever, nor was it a promise for eternity. He just wished for a light-hearted "I love you" here and there with someone he found special.

And for that, anyone would do. He'd find someone who fancied him along the way, and hopefully he'd like them back. That was all there was to it.

This meant his plan for finding his partner was sitting around and waiting. As horribly lame as that sounded, because he was Narumi Gen, this wasn't that hopeless of a plan. So, that's what he did. He'd go around saving people and doing his duties (to the absolute bare minimum) while making sure he was constantly trending, hoping that one day, someone would like him.

Today he was standing around for a solid five extra minutes after he defeated the honju with ease, hoping the media would snap some nice pictures of him, or he'd finally charm someone this time.

"Captain, you ought to stop that," you said. "It's rather embarrassing, you look desperate now."

"Oh, would you shut up," he said. "You're ruining my good name!"

You snorted. "What good name," you scoffed.

"I'm starting to think its your fault I'm not charming anyone. Perhaps if you didn't stop me every time, someone would have found me by now," he said.

"Yeah, right. Captain Ashiro seems to be having no issues charming people and I've never seen her try to," you said.

"You little shit," he said.

"Besides they're going to be utterly disappointed if they think this is what you're like and then they find out what you're… actually like," you said, and he was starting to think you wanted him to fire you. "It's okay. Someone will see how you're actually lovely at times soon."

"What?" he asked, shocked by what you said.

"What?" you replied, confused.

"You— you said lovely," he said quietly. Suddenly he felt flustered.

"Oh," you said, looking away and avoiding eye contact. It wasn't like you didn't mean to say that, but you didn't think it was that big of a deal. Rather, how flustered he sounded took you by surprise. “Well, you’re a little lame but you’re a good guy. Like you pretend you only do it for the media, but I know you’re always checking the alleyways that don’t have as much surveillance just in case, and checking alleyways isn’t something a captain has to do. And we both know the media isn’t writing about anything you do there. Things like that.”

“You never know!” he said, and you snorted.

“Alright then,” you said. “You do you, Captain.”

“I will!” he said back, trying to sound proud.

A week had passed and here he was, doing what he always did after arriving fashionably late to the scene and taking all the kaiju out in a matter of minutes: standing around trying to look good. Because he wanted love, and anyone would do. Anyone who liked him was supposed to do.

...

And yet he wished for you.

He wished that when he woke up, the first thing he would see was you. He wished that you'd smile at him everyday with love and genuine joy the way you did to others, and he wished that you’d smile that way to him alone. He wished that after a long day, he was the one you came home to. He wished from the bottom of his heart that you would always be safe and no harm would ever come your way. He wished that your days were filled with laughter and smiles and he knew he would risk his life to protect that.

It was so unlike him in a way he absolutely hated. True love was supposed to be nonsense and someone being ‘the one’ was supposed to be some dramatic line in a movie. It upset him, that he was so utterly fond of you. Yet, no matter how much it upset him, it didn't change the fact that he was, and he couldn't deny it anymore after trying to ignore it for the full week.

So here he was, acting stupid again, hoping that you’d scold him again or tell him he’s embarrassing himself, because that’s what it’s come down to. He just wanted another reason to talk to you.

But you wouldn’t come to stop him after 10 whole minutes.

“Why aren’t you stopping me?” he asked, irritated.

“Pardon?” you asked, utterly confused.

“Why aren’t you telling me to stop?” he asked again. He was aware how silly he sounded, but he was pissed off that you meant so much to him so he had to take it out on you.

“Because you told me to stop last time??” you replied. “I thought you were going to keep this up until you found yourself a partner.”

“You’re the one who told me to find someone that saw how I was…. lovely…. at times,” he said, but said the lovely very quietly. Remembering that you had described him as lovely made his cheeks burn and he’d rather die than let you see that.

“I mean, yeah. I do think you should,” you said.

“Don’t you notice, though?” he asked quietly, avoiding eye contact. There was a moment of silence.

“I do,” you said, and immediately he looked up to face you. You had a grin on your face and you looked so proud— you looked like you had won a game. Oh, how he hated you.

“You’re so annoying,” he said, and you raised an eyebrow.

“Rich coming from you,” you said.

“So, do you—,” he started to yell before cutting himself off. Carefully, he tried again. “Would you please… uh… be mine…?”

Oh, this is so embarrassing, he thought. Perhaps you’d laugh at him, but he wanted to do this properly, or at the very least try to. He’d be far more than just stupid to mess this up now. He was finally in love.

But your laughter never came. When he looked up your eyes were wide and you looked so flustered, but soon you had the most beautiful smile on your face.

“I would absolutely love to,” you said.

So he kissed you right then and there, because there was nothing he wanted to do more at the moment.

He laughed a little.

“What’s wrong?” you asked.

“No, nothing,” he said.

There was no way just anyone would do— it had to be you.

[dunmeshiminimumwage]

back when i worked at [large chain coffee store], i tried to unionize my workplace. my manager sat me down and gave me a very guilt trip-y talk. lots of "but i thought we were a family :(" and "you don't *really* know what unionization does, do you?" i played dumb and managed to avoid being fired, but. chilchuck momence.

[marigraphia]

Hey remember when Kory was a Justice League member with a bangin' costume

[schrano]

"Siffrin? Are you alright, bud?"

Fanart of Siffrin from @cinnamin-is-a-star's Villain Siffrin AU fanfiction To Extend Our Reach to the Stars Above Chapter 11.

[alyona11]

Ok time for my big Hadestown hot take and that’s that West End Hadestown doesn’t give you a 100% Hadestown experience. It’s still ridiculously good and 100% worth seeing, don’t get me wrong (I used my opportunity and saw it twice and will likely see it again if I’m in London), but it kinda made me realise a couple of things about OBC production that will always be my Roman Empire and make me deeply upset Broadway is too greedy to give us an OBC proshot.

So, here are some of my thoughts and reflections based on seeing Hadestown live on West End + seeing different versions (including London National theatre proshot) in boots. I think you can pretty solidly say that in Hadestown there are 2 main stories: Orpheus/Eurydice and Hades/Persephone. And even though arguably Orphedice is the main most important story, it my opinion it also wins from Hadesphone story being strong. Which works perfectly in OBC due to Amber Gray and Patrick Page delivering a very deep nuanced performances as their characters.

I think part of the success of Hadestown when it works on its fullest is how it creates a very deep emotional journey. And I feel that regardless which pair of Orpheus and Eurydice you have (if we take Broadway/tour/West End take on the characters) it’ll still work! Like you need to try really hard to mess up orphedice the way people wouldn’t root for Orpheus or wouldn’t empathise with Eurydice because they are so relatable and cute. You instantly love them, they are so so lovable. So orphedice part is one thing in Hadestown that imo works if not always then in 99% of the cases.

Hades and Persephone’s part of the story in the contrary is VERY hard to nail on 100%, in my opinion, and this is literally driving me crazy. Maybe seeing Amber Gray and Patrick page in professional recording awoken some feelings in me, I don’t know. I will state straight away that I also do enjoy other actors’ takes on characters and I do see some very interesting character moments there and there. However, I keep returning to the thought that Amber/Patrick’s characterisation works SO WELL for the main narrative. I’ll try to explain why I think so. Consider it my love letter to the OBC.

First and foremost, I feel like Hadesphone story has a very fine dynamic that the actors have to nail, so you would feel that: 1) these two still love each other; 2) these two are buried under their problems and see no way out, only a miracle (aka Orpheus and his song) can save their marriage.

And if the first one usually works at least due to Epic 3, the second one, imo, often (at least partially) falls victim to acting/directing choices which can cause troubles with point 1 as well. I think one big thing I’ve noticed is that often Persephone’s alcoholism gets forgotten in the acting performance. Like yeah sure her choreography includes drinking from a flask but in comparison to Amber you never get a feeling that she is absolutely wasted. Which, is in my opinion something that you should feel when you’re watching the show and something I was constantly forgetting about when I was watching the show on West End. I feel in Amber’s performance you can constantly see that her Persephone’s feel good attitude is a façade of a broken person who knows that her marriage is going to hell in front of her eyes yet she is too passive and hopeless to try to make an active change (well, she does try in Chant and nothing happens), so her only way is to chase the sense of normality that the “medicine” gives her. But when she is alone, if you get to catch a moment when people are not looking at her, you can see a deep sadness under her positive front and her memory of the old days when everything was more simple. Nevertheless, the main point that the lyrics literally say is that Persephone is blinded by the river of wine. And this is crucial to her character and her relationship with Hades because the story states that even though Hades is a problem and he is an active actor in creating more problems, he is not the only failure in this relationship. Persephone needs to be woken up from her apathy almost as much as Hades does and this is something that we see during If It’s True.

From Hades’ side I feel like it’s not a good decision to make him a total villain because when he is irredeemable you don’t feel like the whole “song that will fix the world” has any chance of working long term. I think Patrick nailed a deep antagonist very well. His Hades is weird and lowkey creepy and alien. He does objectively bad things but when you look at him you can’t stop thinking that he doesn’t operate in regular human logic or morality. When I look at him in Chant, it feels to me that his words about building stuff to impress Persephone are absolutely sincere, and I can absolutely see that his Hades doesn’t understand why she is so upset about it when his intentions are so so clear. Maybe it’s my vision but even before Epic 3 when he is so far gone and buried in his projects and messed up ideas I don’t have a single doubt that Persephone is a single motivator and goal of Patrick Hades’ life and that he literally doesn’t need any other being to care about. And tragically this fixation is what makes him blind to all other things he does even if those things ruin Persephone’s life (and other people’s but tbh I don’t think he cares).

I feel like by removing Persephone’s Chant 2 verse Hadestown created more problems for Hades and Persephone part of the story making it a much harder job for the actors to prove to the audience that Hades and Persephone have a chance to make their relationship work. Like I get that maybe it was a necessary things to do (even though I think the show is much better with it) but it made it so much harder to empathise with this particular part of the story unless the actors use the choices that work in the narrative. Because for example when I was watching the show on West End part of me was wondering “what is Persephone’s deal in all of that, what does she win by staying with Hades?” With the verse, and with Broadway Previews or London 2018 in particular this part was clear: Persephone still loves Hades and believes that he has the opportunity to change and become a better man he used to be. Without the verse, however, the actors should give you the same idea during the show which is a hard task considering Hades and Persephone have only 2 big conversations together (Chant and How Long). So apart from those songs there are only subtle mostly silent moments they get together through which the actors have to convey the same thought which is hella difficult and probably hardly will be appreciated by anyone apart from the people who sit closely.

So, maybe because in the actor combo I saw (Zachary and Lauren), I got a feeling that even though they were great separately, I didn’t feel much chemistry between them as a pair. I think, Persephone seemed pissed and tired of Hades all the time until How Long and I didn’t feel that she still believes in his willingness to change. And Zach Hades despite being entertaining, kinda gives the impression of Hades who has other options, he is not into Persephone enough. The only sparkle appears between the two in Epic III which is still cute but I’m not sure if it works just as well if that’s the first time you see the show? Also considering Zach Hades gives more malicious intent in His Kiss, The Riot it seems that he is not even slightly interested in Orpheus having any opportunity to succeed with his quest. Which is not bad, don’t get me wrong! But in comparison to Patrick who is deeply self projecting into Orpheus to the point where you could see that even though he doesn’t want to let him go, part of him does because it would prove he too could succeed in his challenge of waiting for Persephone, this take seems a bit lacking. And overall because of His Kiss, their promise in Wait For Me doesn’t seem as giving much hope that the story won’t repeat itself next Sunday. Which in its turn makes Orpheus’ sacrifice feel a bit… worthless. If on Broadway, when Orpheus turns, but spring comes again you feel like it is the start of something new: hopefully a kinder and softer time. On West End the show also wants you to feel it but when you think about Hades and Persephone you feel…less certainty that this sacrifice will have a long term effect?

I guess the creators wanted to concentrate on Orpheus and Eurydice more and forget about Hades and Persephone by making them more secondary story or maybe there was a lack of director’s involvement to give the cast some hints on how to make this particular part of the story work better, but it feels to me that in its current state the show works in its 85% power which is still great but once you know there is something missing you can’t stop thinking about it and wishing the show would give you those 15% you crave.

[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.

[commsroom]

there's an interesting statement being made about identity if you accept all of the wolf 359 characters are equally themselves as of the finale: eiffel is form without memory; hera is memory without form; lovelace is both, but without continuity of experience; minkowski is both with continuity - and she's still not the same person that goddard recruited. if we're never the same people we were, but we're always ourselves, then the only way the self can be defined is through its own assertion - and maybe it can be argued that "my name is-" (and later, being able to say "my name is hera" reintroducing herself to pryce) and "i am captain isabel lovelace. no matter how hard you try, you are not taking that away from me" and "without me, who are you?" / "renée minkowski, and that is more than enough to kick your ass" are all the set up for (and part of the answer to) "am i still doug eiffel?"

[ra-vio]

Miguuuuuuuuuuuuuuu

[3amsnek]

we will always be here.

happy pride <3

[comradecowplant]

omg is "vegan" wool & leather often made of plastic???? i've never heard this, can anyone tell me if it is made of oil?????? is it (and only it!) made of plasoiltikblasticfossilossilpetroil?????????????? damn such a shame that vegans and their desire for animal material alternatives single-handedly invented the demand for fossil fuels, better pack it all in fellow vegan/vegan adjacent folks 😔

[skitskatdacat63]

2009 Brazilian Grand Prix - Jenson Button

[cartsandhorses]

Those aus where the characters never meet but it’s hannigram and they just don’t have a reason to. Not that that would stop them but maybe Will was recommended a different psychiatrist or left the field entirely, dropped off the face of the earth. He would be the talk of psychiatric circles but Hannibal would never have a reason or opportunity to seek him out. Hear his name in passing and move on, never see his face and fall in love. And maybe they walk by each other but by the time they look back it’s too late. A brushing of shoulders Hannibal would find rude and that Will would go out of his way to avoid but didn’t. A scent that Hannibal inhales and can’t let go of (he wants to, it bothers him) but can’t trace its source because Will already walked away. But he had gone still. Just for a moment, uncertain of why…

They never do get an answer. Not this time. Perhaps they’ll both feel something missing, distantly and locked away.

It’s like outside forces divine intervention are keeping them apart.

[bibuckaroo]

absolutely hilarious to me that that side of the fandom think the buddie side is the delusional one because of the tim interview when the man himself CLEARLY stated that he had NEVER seen the fandom behaving this badly in all of his years working in the business and the only difference from all the other years to this one is the bt fandom, like genuinely lol.

he also stated about people coming to talk to him and using what he said when there are prints out there of their fandom doing this, like it’s not all of them obviously, just like there are parts of the buddie fandom who can be disrespectful too, but as someone who recently joined the fandom and saw the comings and goings through the years, i can safely say when a fandom is being too much on the disrespectful side and i saw that behavior way more on that side, honestly.