#i'm not getting a break in any way

[gregorygerwitz]

am I the only one who thinks Buck and Tommy didn't immediately go off and have sex after the episode?

I don't even think they went home together

they kissed again before they went their separate ways, of course, but I don't think Buck would go off and get laid right after coming out to his entire family

in my head, Tommy said his congratulations, had cake, kissed Buck goodbye (privately, to not take attention away from the happy couple) and got an Uber back to harbor (because he's not going to pull Buck away from celebrating with his sister just because Tommy had a long shift and he wants to get his car and go home and shower and sleep)

idk. I'm seeing a lot of posts about them going off and fucking immediately (and I'm reading the fics, I'm having a great time, it's not about the fic and all that), and I'm wondering if my thoughts are logical at all or if I'm just ace and my brain doesn't automatically jump to sex as the defining moment in making a relationship more official or whatever

[stupid-sloot-headcanons]

I mean I like Izuku but I have to acknowledge we're built different. If my former bully from my childhood years had a mental breakdown, I would be the petty bitch that tells them the exact same thing he told me in the first chapter:

[keefechambers]

thinking about how OJ definitely watched UFO videos in his spare time well before Jean Jacket.

thinking about how he actually started talking to Angel (as much as he talks) because Angel just softly said "you know they don't call them UFOs anymore"

of course Em understands and believes him when he sees something. but the fact that this weird jerk just quietly validates him without knowing anything about it (before bursting into an unhinged rant) is important too.

it's a miniscule detail but it defines their relationship for the whole movie. Angel gets OJ. he figures out their plan immediately. Angel's coworker asks about OJ, not Em, despite her being the one he was talking to. OJ looks at him, not the sky, when he comes back and shows them the cloud and he and OJ are on the same page about it not being enough. he's the one who nixes "use horses as bait" plan on the siblings' behalf. he's the one who asks if they can help people and OJ is the person he looks to when he does. Angel possibly dying because of Holst is the most shaken OJ gets (after Star Lasso) until Jean Jacket almost gets Em a couple minutes later.

it's a tiny microcosm of being seen. the emotional crux of the movie hinges on who sees us and how: consumed as a spectacle for entertainment or seen by the people who value and love us.

Angel sees OJ and that matters because it's clear not that many people do.

[wonder-worker]

I've been thinking about the tragedy of Elizabeth Woodville living to see the end of her family name.

I don't mean her family with her husband, which lived on through her daughter and grandson. I mean her own.

Her sisters died, one by one, many of them after 1485. When Elizabeth died, only Katherine was left, and she would die before the turn of the century as well.

All her brothers died, too. Lewis died in childhood. John was executed. Anthony was murdered. Lionel died suddenly in the peak of Richard's reign, unable to see his niece become queen. Edward perished at war. Richard died in grieving peace. For all the violence and judgement the family endured, it was "an accident of biology" that ended their line: none of the brothers left heirs, and the Woodville name was extinguished. We know the family was aware of this. We know they mourned it, too:

“Buy a bell to be a tenor at Grafton to the bells now there, for a remembrance of the last of my blood.”

Elizabeth lived through the deposition and death of her young sons, and lived to see the end of her own family name. It must have been such a haunting loss, on both sides.

[sysig]

They’re perfect for each other honestly (Patreon)

[mudstoneabyss]

actually. the specific phrasing that boy Kevin wants to kill older Kevin with "I must disassemble him, piece by piece, so that everything inside of the Old Kevin comes out. Only then can the New Kevin truly begin." is so incredibly the idea that to heal from trauma and "improve" you have to destroy every "wrong" part of yourself, that everything "tainted" by it has to somehow be replaced by something untouched (which isn't possible)

[welcometogrouchland]

IMPORTANT UPDATE FOR BATMAN AND ROBIN (2023) FANS!!!...he eat a burger [ID in alt]

(taken from Nicola Cizmesija's insta, who's on art for B&R issues #5 and #6)

[chipistrate]

People really need to give Steel Wool a break sometimes, man- They messed up with Security Breach and now people act like EVERYTHING wrong with modern fnaf is all exclusively their fault when it's really not.

[makorragal-312]

I might be losing it here, but I feel like when it comes to Eddie, Buck, and Christopher, there's the potential to do a parallel of the Buck and Chris room conversation scene from the first episode. They can either:

a) Have Chris and Eddie talk and their relationship is still in a somewhat negative space, with Chris not knowing if he's ready to forgive Eddie just yet. Eddie puts up a front and says he understands and leaves Chris' room only for him to quietly break down against the wall outside of his room.

or

b) Have Chris and Eddie talk and their relationship is in a positive place, with Chris saying he's ready to forgive Eddie for the Kim situation and the two of them come to an understanding and hug it out. And then the camera pans out from the two of them to Buck listening outside of the room, smiling in relief knowing that he can leave the two alone to reconcile further and that the relationship between them is still solid.

[greenerteacups]

How do you generate ideas for both plot and characters? I’m one of the hundreds who is swooning and getting her breath caught at the “what’s this, Granger?” moment and I’d love to know how you came up with the idea for this in particular + how you usually come up with other wonderful moments that constitute the glorious Lionheart saga.

Oh, gosh, you're lovely. When writing is good — and this is a big conditional, because sometimes writing is like riding a horse and sometimes it's like wrestling an octopus, and you can rarely predict which — I don't necessarily think about the Process. It's sinking into the world and going, "Okay, action." There's an outline lurking behind it, and latently I'm considering some miscellaneous higher-order ideas about theme and structure, but I'm not writing the book in order to talk about those themes; the themes are in the book because I'm writing it and I'm interested in them. I can't very well help it, they're gonna end up in there no matter what. I don't have to worry about the architecture when I'm doing the upholstery, if that makes sense.

Discovering the more specific character beats and exchanges like the one in Chapter 64 are one of the ineluctable joys of creation. Sometimes, I think of a line while I'm walking down the street, jot it down in my Notes app, and carefully, meticulously develop a context where I can deploy it. Other times, I'm standing there in the scene and a guy does a thing, and I'm as startled as anyone.

[morgana-ren]

Bailey, Leighton, both weak spots for me. If you wanted to share any thoughts, any lewd disgusting thoughts or random ideas you'd had about those two I'm more than willing to listen

Oho-ho, you came to the right place.

So here's the thing:

Bailey and Leighton are both absolutely repugnant, reprehensible characters. Most people in this game are abhorrent, yes, but these ones strike a special note with me for a few reasons, namely authority-- and the abuse of it.

Bailey's label is 'Caretaker.' He's the closest thing to a father that you have, presumably raising you since before you can remember. He's a dark mirror into what a parent should be. Where there should be unconditional love, affection, and trust, he provides exploitation, cruelty, and despair. He has absolutely zero qualms with quite literally selling you and your fellows to the debauched denizens of the town and subjecting you to one of the worst experiences that a human can physically go through, and he does it on a dime. Even other terrifying people in town seem petrified by him, and that should give a clue to how awful he really is.

Leighton is the 'Headmaster.' He is charged with your education and safety during the mandatory hours you attend his institution. He is arguably responsible for the success and the happy-ever-after of every student under his charge. Instead, he uses this power to sexually exploit the defenseless people under his care. There are multiple people over town with lingering trauma from his actions, including Daryll, and even Mickey, who has become a paranoid recluse largely in part to these actions, and has you get rid of the evidence of this abuse.

It makes these two particularly disturbing. Remy, Briar, all of the rest of them are disgusting, but they aren't beholden to you in any manner. I suppose it could be argued that Harper, as your GP, is also doing this, but it doesn't quite feel to the same degree to me.

Now, in reality, I can be counted on to be a thorn in the side of any authority figure. I have a real issue with it, and I do not like being controlled or told what to do.

In a sexual sense though?

Listen, something in my brain must've gotten twisted up along the way to adulthood because nothing gets my engine going quite like someone abusing authority. Fucked up to say, perhaps, but it is what it is. Maybe it's part of being the world's biggest brat, but who knows.

There is something enticing and utterly terrifying about it.

Bailey has access to you at your most vulnerable. It is only through him that you have a roof over your head, food to eat, and a bed to sleep in. He's a stern man who brooks no argument. You could say he's mostly the main antagonist; the one keeping you from any semblance of peace or happiness in this town by seeking you out and keeping you on a leash that he's got firmly wrapped around his hand. He isn't openly lustful-- quite the opposite, in fact. He probably has a 'I will not fuck my ward, I will not fuck my ward' mantra he repeats in his head.

Your presence is required at school, and Leighton will use any and all opportunities to exploit that, and he isn't shy about telling you. While not as much of an active antagonist as Bailey, he certainly is as evil. He seems to revel in using his position to meet his own.. uh.. "ends" and you aren't his only target in doing so.

Bailey is more difficult to provoke than Leighton. It requires a high ass seduction check to even get into the position of seducing him, and even higher skills to get him off. He wants to see you first and foremost as a cheque to be cashed, and he makes a point not to muddy his hands in the goods if he can help it. However, if you squint, all the signs are there that he isn't immune to your siren's call.

When you call, he comes running. Scream in the bathroom? Oh, he's fuckin' there. Disappear for a little bit too long? He seeks you out. You're a grown ass adult and his method of punishment is... bending you over his desk to spank you? If you do manage to seduce him, I think he lets a bit more slip than he actually intends to, saying things like "You've always belonged to me" and other possessive sentiments (most especially if you lose your virginity to him) that sort of give away that he's clearly thought about this more than once and is seriously going to indulge now that he finally has you.

Leighton on the other hand? Leighton wears his lust on his sleeve.

If you step foot in the brothel (whether to work there or just to get yourself a shiny fake ID,) Leighton is fuckin' quick on the draw to grab you, which tells me he's had his eye on you for a while. If you proceed to work at the brothel, he hires you the moment he sees you. Annoy him for even a second at school? It's spanking time. Be a little bit of a rascal at school? Get your tits out and lather 'em up! You're washing his car while he watches and twitches because he can't openly attack you here. Try to defend Sydney and say you'll take a part of the punishment? My man practically crawls out of his skin right then and there.

He has a high level of self-control, but it is easily possible to drive that man up a wall with the right actions, and it's pretty apparent from the get-go that he has his sights set on you in less than appropriate ways. Thing is, he really won't act outright similar to Bailey. He's more a voyeur than anything, preferring to watch and document rather than actually take part. It seems like a control thing for me, and also probably so he has dirt on everyone else while keeping his own hands relatively clean, but like with most things, I bend parts of the character in my mind to suit my tastes.

They're both difficult to outright seduce. They're both controlling, hideous fiends that abuse their vulnerable charges. They're monsters. Powerful monsters capable of foul, dastardly things.

Can you imagine being the weak point of that monster?

[dazais-guardian-angel]

kinda wild to me that one of the most compelling aspects of both Chuuya and Kunikida's characters to me, that I never really see talked about, is how they're heavily set on a doomed crash course towards complete and utter destruction, and how I am so, so worried for them both.....

[figureofdismay]

they thing is, carter's 'scully left mulder bc he got so depressed and mentally ill so she had to leave for His Own Good/For The Implementation Of Gratuitous Mulder Manpain' post canon character decision is that Scully simply wouldn't.

She would not leave him.

Not in a 'she loves him too much to leave him, isn't it romantic' way, though.

She Wouldn't leave him in a 'they're too enmeshed by then to even seriously contemplate it, he's been literally dead before and also on the run apart from her and she never considered them Over, and then they spent a good few years on the run together in the 00s in not even slightly cheery circumstances, and if, after 20 years of unconsciously warping themselves around each other's neuroses and serious trauma, she can lift her head up far enough from their personal morass of dependency and compensation to see that he's depressed it'd be a feat. She might, with this clarity of vision, at times consider leaving to 'shock' him out of it, but she Can't because he's her whole support system and his belief in her and his persistence is the bedrock of her continued functionality in the face of stupendous loss and confusion by like year 3 of knowing each other, and not having him or his vision of her to lean on was bad enough when there was literally no other choice. So. No, even in the midst of that through process, she probably wouldn't really go all the way through with it.

But it's equally likely that, just like in rocky eras of their earlier FBI days, she'd only be able to accurately see how much he was struggling very intermittently, and mainly just start subconsciously altering her behavior and frame of mind to accommodate him or meet him, while maybe having the instinct to try to aim them at some kind of goal or occupation (ie some kind of warning signal going in the back of her mind that says understimulated Mulder is unhappy, though probably not that bluntly coherent).

[fictionadventurer]

After very little research into the other writings of Laura Ingalls Wilder and Rose Wilder Lane, my hypothesis about the Little House authorship question is that the writing is mostly Rose's, but the heart is Laura's.

In Laura's newspaper columns, the parts that sound most like Little House mostly come from the extracts she shares from Rose's letters (incidentally, it's kind of adorable how proud she is of Rose: "My daughter's in France!", "My daughter's in Albania!", etc.) The prose of Old Home Town, Rose's inspired-by-my-childhood-home novel, has some of the same concise descriptive prose that I've come to associate with the Little House style (I could hear passages in the voice of the Little House audiobook narrator).

Yet the Little House soul is all over Laura's columns. She's fascinated by the simple tasks of life, believes in home and family and hard work, believes in holding onto the goodness of childhood and looking forward with hope toward the future. There's an optimism, almost a romanticism, about life. The children's series that bears her name clearly comes from the same woman.

Rose, by contrast, is much more pessimistic. When writing about childhood, she's almost cynical about the life of a small town. She highlights the dark stories underlying the wholesome exterior, is extremely sensitive to the pitfalls of the social scene around her. Part of the difference is that Rose is writing for adults, but there does seem to be an essential difference in the personality behind the pen, despite the stylistic similarities to Little House.

(At the risk of pop psychoanalyzing people long dead, Rose seems much more neurotic and introverted and sensitive than her mother. In her writings and in the books about her childhood in Missouri, she comes across as child of a fairly comfortable modern life, with all the modern anxieties, in contrast to a woman who grew up starving on the prairie and knows that there are much worse things to endure than small-town gossip).

It's not much of a thesis, but I'm just fascinated by the fact that the Little House series can share so many stylistic similarities with Rose's writings, yet feel so much more like Laura.

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[snotoflathander]

Second favorite fighting style: layer Hunger of Hadar over Thorns and go stand on the other side. Watch Big Bads like Cazador and Viconia DeVir be all "YOU CANNOT ESCAPE YOUR DOOM ooh ouch oof ow ouchie ouch ooh oof" as they and their goons shuffle slowly towards you, dying halfway across in a big Goon Pile. Bonus points for when the lucky few make it to the other side and you Eldritch blast those bad boys right back to the middle.

Favorite fighting style: BONK WITH SWORD