#are watching the same show i feel like we're not

[tsams-confessions]

Hey guess what? Some of us were here back when this show first started. Meaning back when it was just Sun and Moon, and Eclipse was only hinted at. That means that some of us were big fans of Sun. I know, shocker. Which means we were heavily invested in his story and his journey as a character. Which in turn means that we're disappointed, maybe even angry, at how he's always side-lined for other characters. And here's something even more shocking. We're allowed to be mad about it! We're allowed to talk about it! And...we're even allowed to make theories about Sun! I know, how cringey, right? I'm so sick and tired of seeing new fans come here and sneer down their noses at Sun fans. I've been seeing it more and more this past year especially. Just because you started watching this show because you like Solar or Blood Moon or whatever the fuck, doesn't mean everyone else feels the same. How is it that I see constant theory posts and vent posts and such about all the other characters, but any time someone talks about Sun then there's at least one stupid little comment in return. We get it, you don't like Sun, or you like him as a background character. You unironically call it the "Solar and Moon Show" with your whole damn chest. But we've been here long before you, and we have loved Sun for two goddamn years, and we're allowed to be angry or sad about how his story has been left unsaid and forgotten. Stop being sarcastic and condescending to us, because we do see you. We're entitled to our opinions and rants about our "fave" just as much as you are. This is a damn confession blog, where we all confess things and give our opinions. Stop calling out toxicity in the fandom and then being toxic yourself.

.

[strqyr]

genuine question: do people want bad, inconsistent writing? is that it? because that's the only way "taiyang is and always has been a horrible father and yang had to raise ruby all on her own and she resent him for it" makes any damn sense.

like. where's the resentment?

where is yang, while happy that ruby is one step closer to achieving her lifelong dream, feeling just slightly frustrated that she's once again sharing a room with her sister, when going to beacon was supposed to be a place just for her for at least two years without having to watch after ruby and feel guilty over it?

where's the resentment when tai sent zwei to the girls to be taken care of while he's away on a mission, placing that responsibility on yang again? why show yang instead being flippant about the whole ordeal, and shrugging it off like it's nothing, being ready to leave zwei alone in the dorm room for the week they're away because he has the absurd amount of food and a can opener tai provided them?

where's yang bringing up how she had to apparently grow up early because tai wasn't there, when she wanted to be treated like an adult?

where's the resentment when yang was about to leave home under the assumption it was her keeping her father from going after ruby, only to find out he isn't coming with her, once again leaving the responsibility of taking care of ruby on her shoulders?

because the show i watched, it doesn't exist. to even remotely get to that point you'd have to ignore ruby talking about their dad in a way that makes it clear he was present and raising them, you'd have to ignore yang having to wait for him to be out of the house to leave herself once again proving he was present and attentive of them, you'd have to ignore ruby's first happy memory being from that same time period (and with no corresponding sad memory to counter it), you'd have to ignore him reading them bedtime stories and taking them out for boba after school, making sure he's spending time with them even when he's busy with work.

you'd have to ignore that both yang and ruby have a good relationship with their father.

that is not to say tai doesn't have his flaws—every damn character in this show does—, but that's exactly what V4 is about. the rift that existed between yang and taiyang was his refusal to talk about raven and doing his best to prevent her from looking for her. that's it. just compare the difference in tone between yang's "oh, so now we can talk about her?" and "i don't know. some things you just need to be there for." and it's clear as a day where the resentment actually lies.

therein lies the core of the arc between yang and tai, and like many issues between characters in this show, it gets resolved: for the first time ever, he properly talks with yang about raven, and when yang is about to leave, he doesn't try to stop her like he has before; instead, he asks her where she's going, and gives information that might help make her journey easier.

if they intended there to be any lingering resentment from yang, 'boba' was not the way to do it. we know what yang's resentment looks like: anger, snappiness, the like. it's not quiet, almost somber.

they could have written yang treating tai's absence in vacuo as something she has come to expect from him, but they didn't; instead, she wonders why, because she can't fathom what could be more important for their father than being there, in vacuo, with them.

and that alone comes as validation for everyone who has wondered the same: why is tai staying in patch when everyone else is on the move? this is a character we're first properly introduced to as a father who has fallen asleep by his daughter's bedside waiting for her to wake up, a father who is almost brought to tears by relief that both of his daughters are back home and safe.

a father we last saw being absolutely desperate for his daughter to come back on screen when ruby's message cut short.

and beyond brings a sledgehammer and says yes, it is odd that taiyang hasn't left home to be by his daughters' side. wonder why that is, must be something important, wink wink ;)

and if you ask me, that sounds like a pretty damn good "long con", and damn good writing.

[winniemaywebber]

The Apple Tree • Part 6

Rosie Rosenthal x Reader

warnings: 18+, soft dom, oral (m & f giving and receiving), sexual intercourse.

“Ready to go?” Sally saunters through the door of the schoolhouse, her skirt swaying in the cool breeze emanating from the doorway. You're midway through shoving a biscuit in your mouth as she slams through, distracting you and causing you to almost choke on a stray crumb.

“That's one way to make an entrance,” you say, feeling your face reddening from straining, trying to keep a cough at bay. “You're early,” you tell her, your eyebrow raised. “It's only three.”

“R-right…” she begins, her eyes darting around the room. “Just thought, since it's Friday and everything, you should get some extra time at home. Y'know, refresh before the weekend, be ready for tonight–”

“Tonight?” you cut her off. “We're only going to the bloody pub, Sal. They've seen me looking the least refreshed possible.”

“Yes, hm, I know but, uh–” she pauses, and you spot the telltale sign that she's keeping something from you: the corner of her mouth is twitching as she struggles to come up with a lie. Just like she can read you like a book after all these years, you're able to do the same with her. You peer at her, your eyebrow still raised, sighing at her. 

“Fine, okay. I'll go home and be ‘refreshed’,” your fingers making air quotes around the word. “But if I find out you're keeping something from me, you're in for it, lady.” You poke at her, then giggle to show her you're joking as her face drops and starts graying. “Come on then,” you sigh, wiping the last of the biscuit crumbs from your pants and closing your notebooks, placing them in a drawer in preparation for the new week. 

---

James is stood outside under the apple tree, smoking a cigarette and munching an apple, taking alternate bites and puffs of the cigarette. As he sees the pair of you coming towards him and catches sight of Sally, the worst happens. Watching him as if in slow motion, he bites down on the cigarette, his face contorting as he realizes what he's done. You and Sally break into a peal of laughter, James’ face turning the same shade of red as the apple he'd been eating.

“Alright, leave it,” he drawls, his eyes slightly downcast before he erupts into laughter too. “Come on, chicks, let's get outta here.” Throwing the bitten cigarette into the makeshift trash can (a bucket the children had painted and then nailed to a post), you begin in the direction of your cottage. 

—

It's halfway through the walk that you spot a familiar figure in the distance. Back slightly scrunched, clutching his hat with the same anxiety that seems to always be racing through his body, is Harry Crosby. 

“Croz!” James yells, raising a hand in greeting.

“Harry Crosby. A pleasure, as always.” you say as he nods at you, winking at James. 

“This is all very nice,” you start. “But what's going on?” You look between the three of them, all of them trying their best not to make eye contact with you. Sally's lips begin to purse and, once again, that mouth twitch. You grip her by the shoulder to get her to look at you. “Out with it, Sally.” She giggles, shaking her head and looks over at her man. He lifts his hands up, as if to say he's not breaking either. 

“Harry?” Your eyes squinting toward him, knowing that he'll be the one to crack. His face turns pale as he shifts from one foot to the other as you see the cogs turning in his head, trying to formulate a believable lie. 

“Oh, errrm, it's uh–just, well, Rosie…” You feel Sally and James shoot him a darted glance and you hear James sigh. 

“Come on, man! You were doing so good!”

“I'm–I'm sorry, I'm sorry, I just–” he struggles to hide a smile, his hand covering his mouth as the color comes back to his cheeks. 

“You'd all better tell me what's going on, you cheeky little–”

“No,” Sally says pointedly, smiling at you, linking arms with James. “Let's just get you home, and then you'll see.”

—

You're a few steps away from your cottage when you see someone pacing from your front door to your white picket gate. Harry, Sally and James look towards you, all smiling as they see you let out a gasp. Shooting a glance at the three of them, you break into a full sprint towards your home. Not bothering to try and unlatch the gate, you leap over it and into Rosie's arms. There's a second of silence before you're both laughing in relief, you letting out an excited yelp as he lifts you off the ground.

“Oh, Rosie,” you murmur into him, his lips finally capturing yours in a tender kiss. 

“Hi, sweetheart,” kissing you again as he puts you down. Noticing the tears trickling from your eyes, his own eyes widen. “Hey now, pretty girl,” he says softly, taking you in his arms again. “Don't cry, shhh, it's okay.” 

“I'm sorry,” you choke out, gulping through your tears. “I just missed you so much, and…oh, it's been horrible.”

“I know, baby, I know,” he soothes, your head on his chest and him stroking your hair. You feel his breath shake a little, his hand stroking your back. “I missed you more.”

“Not possible,” you sniffle, looking up at him. He places his hand on your face and kisses you deeply. 

“I can't tell you how many nights I dreamt of doing this while I was away, just being with you. Kissing you, holding you. It's all that spurred me on, in fact.” He pauses, his thumb stroking your cheek. “I just wanted to come home to you.”

You hear the gate click open, pulling you from your little bubble with Rosie. You turn to see your friends with huge grins on their faces, Sally's eyes glistening with tears. 

“Are you all coming in?”

“No, we're gonna be leaving you to it,” James says, winking cheekily. “We'll see yall tomorrow!” 

—

Entering the house, you and Rosie both remove your jackets and place them on the coat hooks by the door. Without thinking, you go into autopilot, walking to the kitchen to boil a pot of water for tea. Lighting a match to turn the gas on, you feel Rosie's arms around your waist. Leaning over your shoulder, he blows the match out, and turns you around to face him. He kisses you so deeply that it takes your breath away, his lovely big hands pawing all over your body. You feel yourself pushed against the stove, the weight of the two of you against it causing it to move out of place. Giggling, you break apart.

“Do you want tea, or not?” You ask, looking up at him through your lashes. 

“No,” He kisses you again, humming into you. “I just want you.” 

You feel yourself being picked up and carried over to the dining table on the opposite side of the room. He sits you down upon it, and without hesitation, your legs wrap around his waist to get him as close to you as possible. 

“Woah, hold on, honey,” he laughs, his hands on your thighs. He starts pressing light kisses to your neck before giving it a small nip with his teeth, making you gasp. “Let me take my time, yeah?” He looks back at you, his blown pupils overtaking his baby blue eyes. You nod in agreement, reaching up to kiss him again. “Good girl,” he purrs, his lips meeting yours. 

The kiss deepens, you gasping for air as he toys with your belt, reaching out to unbutton his shirt. You get two buttons open when he pushes your hands away, placing them gently on the table. “No, honey,” he says breathlessly. “Wait your turn.” 

“B-but…” you stutter, confused. “I need to touch you, I haven't touched you in months. Please, darling.”

“No,” he repeats, his hands returning to your belt. “Not until I've taken care of you first.” In a swift movement, he's pulled your belt loose and unbuttoned your trousers, untucking your shirt painstakingly slowly. It takes everything in you to not rip it off yourself, and he sees your hands begin to move from their position on the table.

“Nu-uh,” he looks at you pointedly, those damn pretty eyes full of want. “Do as you're told. Hands down.” With a frustrated moan, you slam your hands back down on the table, Rosie back to kissing and nibbling at your neck and collar as he unbuttons your blouse, his mustache adding that delicious tickle and roughness you'd missed so much. You feel yourself white knuckling the table as he sucks and nibbles his way across your front, removing your brassiere nimbly. 

“Pretty girl,” he murmurs, his mouth making its way down lower to your chest. 

“Please, Rosie,” you beg, his mouth hovering over your puckered nipple. “Please let me touch you.” It all comes out as a whine, your brow furrowed with frustration. 

“Look at you,” he purrs in that deep, husky voice. “Begging like that.” You try to moan, but it comes out as more of a high-pitched whine as he takes your nipple into his mouth, his fingers fiddling with the other before switching sides. Your hands find themselves in his curls and he doesn't object.

“Finally,” you sigh. Your fingers run through his hair, tickling through his scalp as he gets lower, gesturing you to lift your hips up to remove your panties. You're already a glistening mess, and you whimper as he looks you up and down.

"Shit, honey,” he says, eyes widening as he surveys the area. “You really missed me, huh?”

“I did, I did, I really did, baby,” you mewl, groaning at the sight of him finally removing his shirt. You drink the sight of him in, looking at several new scars and cuts upon his chest and arms. Kneeling down in front of you, his hands on your thighs, he slowly pushes his tongue through your folds, moaning as he does so. “Taste even better than I remember, sweet girl.” Your hands find their way back into his hair, tugging lightly every time he hits the right spots. Just as you're about to reach your peak, he slips a finger inside you, the come hither motion toppling you over the edge. He laps up your release with a moan, your grip released from his curls. 

Before you can even come down from your high, he's lifting you up again, wrapping your legs around him as he carries you upstairs. It's a struggle to get the bedroom door open as he insists on still holding you there, the both of you breaking into laughter as you fight with the doorknob. 

“These damn old British houses,” he laughs, resigning to putting you down and forcing his way in. You take him by the hand and pull him into the room, your hands ending up on either side of his neck to pull him into a kiss. Trailing down his body, you stroke at the bulge in his slacks, causing him to moan into your mouth. 

“Your turn, Major,” you whisper, kneeling down in front of him.

“Oh, God…” his voice trails off at the sight of you unbuttoning his pants, freeing his length from his underwear. Collecting the beads of moisture with your thumb that have appeared at the pretty pink tip, you stroke him, seeing his eyes roll back into his head before taking him into your mouth. He moans at the sensation of your tongue working its way around him, breathing heavily within moments. He puts his hand at the back of your head to keep the rhythm he enjoys most, his eyes remaining closed in heavenly ecstasy. You look up at him, somehow smiling with your mouth full, heat building in your stomach at the sight of this beautiful man about to lose his mind because of you.

His hands untangle from your hair, and begin to stroke your face, pushing your chin away from him. “On the bed, babydoll,” he says, out of breath, cheeks flushed and pupils blown. “I need to be inside you.” 

As you lay there, waiting, you catch sight of his behind in your vanity mirror, the slightly faded tan of his peachy butt a delicious view. His strong thighs, the backs of his equally strong arms and that wonderful back of his turn you on even more than you already are, from what was it he once said? ‘Piloting a school bus like a fighter jet.’

“Are you ogling me, Y/N?” he teases, a playful grin on his lips 

“Yes, Major. Yes, I am.” You smile back, winking at him. He hurriedly plants a kiss on your nose, still smiling. 

“God, I love you.”

“I love you, too, darling. Now, please,” you moan, pulling him closer by hooking your finger on the chain of his dog tag. “Please fuck me.” His eyes widen at your request, biting his lip as he lines himself up at your entrance.

“Yes, ma'am.” 

Both sighing - all that pent up frustration being released - as he enters you, he gives you a minute to adjust to him. You grip the curls on the back of his neck as he begins to pump in and out of you, noses touching, breaths mingling. 

“Fuck, honey,” he pants. “You feel so good. I missed you so much.”

“I missed you too, sweet boy. More than you'll ever know.” 

Within minutes, you reach your second orgasm of the day, him murmuring praise as he watches you ride it out. “There you go, pretty girl,” he mumbles into your skin. “Told you I'd take care of you.” He begins to kiss your neck as his thrusts become sloppier, spilling into you moments later. Breaths shaking, he pulls out of you and you whine at the emptiness. He rushes to the bathroom to clean off, bringing a warm wet washcloth for you. 

You pull the duvet back and pat the spot - his spot - on the bed beside you. Before you've even finished wordlessly asking, he's in the bed, pulling you on top of him to snuggle. You bury your face deep in his neck, breathing him in and never wanting to forget his scent. You kiss him repeatedly, before softly stroking and kissing the new scars on his body. 

“Sweet boy,” your voice barely above a whisper. “Darling, beautiful man.” You feel him sigh underneath you, wondering if this is the first time he's been totally relaxed in weeks. You see his eyelids begin to get heavy, his face softening at your touch. 

“Can I spend the night?” 

“My love, you don't even need to ask. I'd let you spend every night in my bed if you were able to do so.”

“I'd love that,” he sighs, as much as he can muster in his exhausted state. You slip off him and onto your own pillow.

“Hmmm…” you feel him drifting off, not before he leans over to kiss your nose, your cheeks and then your lips. 

“I love you, Y/N.”

“I love you too, Rosie.” 

taglist: @sagesolsticewrites @ginabaker1666

[chobani-flip]

the disconnect between the storytelling of the show and of the fandom

lately, I've been thinking about storytelling and storytellers in the context of 911.

like, there's two sides to this storytelling business, right?

there's the small group writers and showcreators who have an idea for the characters and plots and have to come up with a way to share those ideas within the constraints of a network television series

and then there's us, a massive international community with a wide-range of life experiences, who watch their show and then go on to tell our own story about it.

and i wonder if we're always watching the story they're telling.

im not even necessarily talking about the buddie goggles right now.

what got me thinking about this was ana flores.

and the one scene the fandom likes to pretend sealed her fate (when in actuality, let's be quite candid, it was the fact that she was a beautiful woman who dared to date eddie instead of allowing him to remain a viable option for canonical/fanonical offscreen cannoodling with buck)

"there's a lot to be said for getting back on the horse, but there's also some value in learning that you don't like horses." eddie: "i'm sorry?" "sometimes, our limitations tell us when to stop. but sometimes, they can show us where to look next." (romantic, feelingsy song starts playing) "today, he falls off the skateboard. but tomorrow, he writes the great american novel."

see, the problem here is that this is CLEARLY meant to be viewed as wise and deep advice. as a moment of connection between ana and eddie... the way the scene is cut, the music that plays in the background, the intense eye-contact between the two characters, the way eddie reacts to her words... we're meant to enjoy the simmering tension and potential between them...

but... it's not great and deep advice, not really. it's been pointed out that it comes off as ableist. and ana is supposed to be a teacher at this excellent inclusive institution; she is meant to have experience with children of different abilities feeling frustrated and wanting to do the same things other children are doing... someone on here pointed out that if they were the teacher, they would seek to understand what need christopher was trying to fullfil by getting on the skateboard and help him achieve it by other means

but what ana comes up with is this awkward horse metaphor that doesn't really make sense for the situation, and a condescending: "awwww, well, im sure he's the next hemingway"

BUT SEE, THAT'S NOT THE STORY THE SHOW IS TELLING US. the show is ostensibly framing this scene as romantic and great and deep. and that is NOT ana's fault. the character of ana didn't travel to our reality, didn't block the scene, didn't cut it and add the soundtrack. that's on the showcreators.

but somehow, it's really difficult for us to see it that way when it comes to ana.

in a way that it's not when it comes to Hen, poor little Mara and the Doberman.

because we know Hen and Karen, and we like them.

so we awkwardly shuffle around, side-eyeing each other, quietly nudging each other and going: "bit of a fail that, huh? kinda a weird thing to do on the part of the show, huh? comparing a little Black girl to a dog...why did they do that???"

or there was an excellent post floating around about whether Buck and Eddie realize they can say no to sex, that their consent matters.

"what if i come home and she wants to haaaaaave..." "well, you'll get through it somehow," says buck with an amused grin on his face.

see, the problem isn't necessarily whether the characters know that their consent matters, but whether the showcreators do. because this is clearly meant to be viewed as a joke.

eddie is a macho guy, who tends to keep his cool in difficult situations, so it's funny when you see him freaking out over the fact that his girlfriend wants to have sex with him and he doesn't want to have sex with her because her former chosen-profession taps into his well of Messy Catholic Feelings.

isn't it? isn't that just fucking hilarious?

and the answer to that is: no. it's not funny to any part of the audience who's ever felt pressured (by a partner, by society, by their own expectations) to want or to have sex.

but does the show realize that?

i'm sorry but i don't think so. this is the show that framed dr.wells sexually assaulting buck during a therapy session as a joke to casually bring up and needle him over later, that felt the need to reassure us that chimney and maddie can and do have wild, passionate monkey sex (you remember, albert teasing chim, then the hotel with the revolving room, etc), that had karen ask hen what the point of a relationship was if the couple weren't having sex...

now, i genuinely don't think the showcreators mean to be hurtful, or harmful. i don't think they realise how all these things come off. because they're a fairly small group of people from Los Angeles, America, and are working within the constraints of a network television show

(and the point of the Eddie and Buck scene was Buck coming out to Eddie, so maybe they felt Buck saying: "you know, you can tell her you don't want to have sex, right? that's allowed." would fraction the focus of it? idk)

but what happens is that there's this disconnect between the story they're telling us and the story we continue to tell among ourselves.

when it comes to the characters we like, we tend to ignore the unpleasant meanings and messages in relation to the character, or we retcon it in fanfic, or we Fix-it with some heart-to-hearts and apologies.

(for example, i haven't seen many fics that show athena being a Cop as not-a-great-thing. but are we really ok with her saying "i wasn't on their side, but i understood their side." when her son expresses some reasonable dissatisfaction with her reaction to a cop pointing a gun at him and michael? or are we just ignoring it because we love angela basset?)

when it comes to characters we are predisposed to dislike, this disconnect makes us dislike them even more. which leads to the writing of bashing fics, and in some cases harassing the performers online jfc do not do that people that's never ok

(of course, some characters are hated justifiedly imao, like the buckley parents and chimney's father...)

maybe this is the frustration that makes for such a prolific and active fandom?

I don't know.

but I think it's something to keep in mind when watching the show. because that disconnect is always going to be there and I know that for my own personal mental health, it's easier and nicer to believe that a group of RL people might be just a bit ignorant at times, than that my favourite characters are massive assholes unpredictably and randomly

[huxianposts]

Be me, unsuspecting: :)

My dad, the most stereotypical emotionally-constipated and unapologetic Asian man, after watching EEAAO: I'm sorry.

Me, suddenly afflicted with all stages of grief simultaneously:

[icewindandboringhorror]

More misc. daily life pictures and such

[hollowflight-propaganda]

I think it's time I change my bio to say it's been 11 years since I started to watch Ninjago.....

Gosh. Where's my senior discount on the lego sets, huh?

[pastafossa]

Hey I just wanted to ask a writer question. I really admire your writing and the amount of work and dedication you put into your stories and characters. You are one of my favourite authors ever. I have been wanting to get into writing and I was wondering how you flesh out your characters? For example you have a character that you’ve thought out, do you have a template that you fill in? Or just write a whole bunch of points about the character in a Google doc? I know that question might not make the most sense but I have a few characters that I’ve given quirks and backstories in my mind but I have no idea how to transfer them onto paper? Like Jane from TRT, is there just a big template or doc where you randomly put points into or some other type of organization? I know it’s not an easy thing to answer on text or even something you might not want to answer but even one sentence of advice is much appreciated :) Thank you so much for everything! I appreciate you. I will also put this into the ask thingy if you want to answer on there instead of PM 😁

I've managed to hammer this out in bits and pieces over the moments I've been more coherent so I think I'll make sense. First, thank you so, so, so much! I honestly love these characters so I'm always happy to hear someone likes it, even if I enjoy the work! 😭

Second - I do in fact have a template in doc form that I use to keep things organized! It's one I've been using since I took a novel writing course years ago by a published author, and in one particular class we went over character development, which is where I learned the template. The way I was taught (and the way I develop major characters) - first, even before filling in the template, I figure out their archetype(s). What story role are they filling? Who will they be a foil for? I like to think of those as your foundation, because every character is an archetype of some kind, and you can use that to build them up. To use Jane as an example, she's an antihero archetype, yes, but I've also pulled elements from: the Unscrupulous Hero, the Sympathetic Murderer, the Combat Pragmatist, and the Ineffectual Loner. Compared to Matt's hero archetype, she's the Lancer. Archetypes can help you if you're struggling to build up from the bottom.

Once I have the archetype, I start filling in the Major Character/Hero template, which roughly looks like this (if you don't fill it all right away, that's fine, because there's a step after this to fill it in the rest of the way). I like this one because I feel like it covers VERY important things that a lot of online character profiles skip, and has much less of a focus on looks (which I find way less important from a writing perspective):

Name: Age: Family History: Career: Physical Description: (include things like scars, notable or unusual features) Preferred Style of Clothing: (instead of listing brands, try to instead describe their style of clothing as it relates to their character - ex: Jane wears upper-end pantsuits in muted colors when meeting clients, because they carry a strong emphasis on professionalism; when hunting things down, she wears what is practical over anything to do with aesthetic) Goal: (every character should have one; what are they trying to do?) Motivation: (WHY do they want that goal?) Big Secret: (if it were Jane, it'd be what happened in Los Angeles; so what are they hiding? Keeping to themselves?) Self-image: (How do they see themselves? Are they confident and secure? Insecure and depressed?) Internal Conflict: (what are they struggling with?) Game: (What's some little game they enjoy?) Pet: (if applicable) Temptation: (what's aaaalways going to lure them in?) Vehicle: (if applicable; alternatively, how do they prefer to get around?) What makes them unique: (our fake post-apocalyptic character we made as a class had his teeth sharpened into points to scare people; Jane is often fidgeting with threads; just anything that stands out) How do they speak: (do they speak very precisely? Use lots of slang? Do they have an accent?) Quote: (What quote sums them up, or what quote do they relate to most? I have an entire folder of these for Jane tbh, and some for Ciro as well) Lesson Learned: (All characters should grow in some way, rather than stagnating. So how do they grow? What do they learn through the story?)

Now, this is something I was encouraged to do after the template, and also something I was already doing on my own. Once you have the template as finished as you feel comfortable with, you might feel like you need to develop the character a little further to fill in the rest, or solidify what you already have. The way you can do that? Write something short with this character. It doesn't have to be anything you need to post; it can be based on a short scene, based on a prompt, things like that. I like dumping them into: humorous scenarios, angsty scenarios, and Action Oriented (TM) scenes. Those really help you get into the meat of the character (aka: how they react to teasing/flirting/jokes; how they react to strong emotion; how they react in situations that might cause panic). Basically, it's your way of introducing yourself to them and becoming more comfortable writing them, because often a character might act a certain way in a cold, rigid template, but behave entirely differently once you drop them into a scene. Alternatively, you might get to writing and realize you need to make an adjustment so that they have better chemistry with the other characters. Writing a new character's a dance, and you're both going to step on each other's toes in the beginning, but once you learn how they move, it gets easier. And it helps them develop and grow as you learn about them!

[aflawedfashion]

I don't think some wot book fans understand that I just wouldn't be interested in the show if it did a lot of the things they want. No value judgement (everyone likes different things), but some book fans want to change how show fans perceive the show. They want us to perceive it exactly as they do, and that's just not how it would work for me. I either just wouldn't be watching the show or I'd be wishing it explored the aes sedai and their warders more because that's the kind of thing I'm interested in. You can't make everyone think the same way you do.

[silvermarmoset]

your tags are SO true like it was one thing to bring tennant back pre-ncuti, since the whole point of that was quite transparently to increase viewership FOR ncuti, but to be like "actually tennant!doctor gets to go have his own life and ncuti is a totally different offshoot" is like ....... well.

i'm screaming a lot in the tags but i'm guessing you meant these ones?

#honestly. horrible horrible flex to set ncuti up across from the most beloved doctor from the start?#like i (and im guessing a lot of other people!) will /always/ be drawn to 10 and feel like he's our doctor#don't set ncuti up like that!! deny us dt and MAKE US LOOK AT HIM. this is so SO weird rtd wtf did you do

because yeah. it actually makes me a bit furious because leaving a spare doctor hanging around and sending Ncuti off as a double is just handing the perfect excuse to every bigot who wants to claim that Ncuti isn't the real doctor, the real doctor is back on earth in Donna Noble's garden. Why do that? Why make it easy for fans who want to drop the show now and pretend it's always the old way, forever?

i can think of reasons for doing it this way—like i'm 95% certain this was just a convoluted way to give Donna her happy ending—but none of the possible reasons i can think of justify going about it like this. I love Ten, and Tennant, I could watch him go on adventures forever, but the point should be I DON'T GET TO because because here's A WHOLE NEW WONDERFUL DOCTOR to go on adventures with! The whole constant point in Who is that change and death DO happen, and one of the joys is grieving the old while embracing the new!

But this episode doing this weird little pivot where you can die but still live, where a separate form of you can rest* so you can go on adventures....idk what moral RTD was aiming for here but it feels like he just shot his own next era in the foot for no particular reason beyond "we love Ten" (and we do but. come on)

*(what does that even mean?? canonically we know the doctor is restless and always running into trouble so what was the point of that?? it's confirmed he's going to mars on fun little trips!! this is the same man and you gave him a tardis and apparently there's no sacrifice at all?? what is this!! why!!)

[bitchthefuck1]

have you watched the pjo show?

I saw the first 2 episodes when they came out at a watch party one of my friends threw, and as soon as they ended I realized I didn't particularly care to keep going. It wasn't like, outrageously bad by any means, I just don't think it gripped me enough to want to continue, and there were enough odd adaptational choices that I thought weakened the story that I lost interest. I might have tuned back in if the changes actually built to something interesting in the later episodes, but from everything I've seen it kinda seems like they just took the teeth out of the story, which was what I was worried about.

That being said, the cast seems really great and well suited to their roles, so like, if they improve the writing and pacing in the later seasons and stop sanding down all the rough edges, I might pick it back up. But otherwise, pass.

[xiaohuayaos]

i really love your lbfad posts, You really Get the characters. I'm so fond of the mortal arc in particular because it shows the characters being able to goof off and have some silly fun. It's wild but I once saw someone get through the entire mortal arc of the show and somehow come to the conclusion dfqc is just awful and abusive? Truly bizzare takes on the wider internet.

Aw, I'm glad you enjoy my posts- I appreciate knowing 💗 but yeah the wider internet can be Very interesting.... I think one of the first things I saw outside tumblr about the show was a decent review that I was enjoying reading up until the point when the author just started in on how terrible and annoying Xiao Lanhua was and how she only watched the show in spite of her and I was just ??????? like at the end of the day we are all entitled to our own opinions and feelings but there's a lot of opinions and feelings I do not agree with <3 to put it nicely <3

[jigsawgirlfriend]

never have i seen anything that more accurately describes tomgreg (and definitely macdennis too now that i think about it) and i just think you all need to read it

https://www.reddit.com/r/SuccessionTV/comments/s7kn5s/explanation_of_tomgreg/

[artekai]

Guess what movie I watched

[lonesomedotmp3]

to clarify anyone who ""ships"" """merthur""" is a person who you need to stay away from at all costs however some of us have eyes and basic media literacy and simply LOVE seeing some codependent freaks on their tv!!!

[icewindandboringhorror]

oh my god.. a job for me.. historical pierrot beach performer lol