#or five for each character

[chloesimaginationthings]

The ending of FNAF sister location

[zorangezest]

Shockwave somewhere off in the corner with starscream watching this personality swap unfold that he caused somehow

HOLD ON. YOU’RE RIGJT. SHOCKWAVE DEFINITELY CAUSED ALL OF THIS

you inspired me to make this comic why is this becoming an actual au why does this stupid blucking au have lore I’m going to cry

[sockiepuppetry]

Deeply sorry for some Karadox for my AU

Unfortunately I love this ship

[strangertheories]

I really despise the Marvelification of Stranger Things, because all the interviews nowadays are constantly referencing how fast paced and epic and big the finale will be but the reason people fell in love with the show wasn't special effects or long episodes; it was the plot, it was the characters, it was the mystery. Stranger Things 1 may have been a story about a government conspiracy and a monster, but that's not why we stuck around. The show can throw amazing CGI, Russians, a battle within the American army and an apocalypse at the audience with the biggest budget known to man but if they forget to ground it and keep it central, it'll just get lost amongst a plethora of other "epic" blockbusters. We want Steven King, not Avengers.

[vaguely-concerned]

thinking about how deeply lucanis' life has been defined by a lack of control of that life -- as he himself points out, even before the ossuary went and carved the headline out again with big bloody letters. of course he reacts badly to losing what little control he did manage to construct for himself even within those circumstances.

(namely: experience has taught him that things (caterina, loss, pain, love, all horribly and indelibly intermingled) will happen to him whether he wants them to or not and there's nothing he can do about that... but he gets to decide what's let in or out of his soul as it happens, even if he has to close it all down and deaden and numb himself out in the process. (even if that means he drifts further and further away from illario, who's been desperately reaching out and trying to keep hold of him until he finally gives up completely and tries to cut the bond all at once when lucanis doesn't seem to reach back anymore.) it's such rare well-observed freeze logic solidly constructed from the bottom up, I'm still so impressed with it.

the way illario seeks constant external means to cope with caterina's abuse and importance in his life -- he can't win her admiration or acceptance or warmth (or like. acknowledgement even, at times :') ), no matter what, so he goes out and finds those things in others and then disdains and dismisses it for how easily and falsely it's won from them. he plots, he conspires, he tries to beat her at her own game however clumsily, he tries. lucanis doesn't try things that way. he's not about 'how do I improve my situation' by nature, he's 'how can I stop this from getting worse'. he avoids, he internalizes, he hunkers down and makes himself nothing until the pain maybe ends. he's fundamentally not a plotter, he's a reacter. an expert assassin pantser, if you will, to illario's clear and stated exasperation fhsak. man I love them. illario says 'get us out of here!!! if you loved me as I love you you'd help me get us out of here before it kills us both', lucanis says 'there is no other place, there's nowhere to go, all we can do is endure. and if it kills us... well, that's just family. that's what love is (the way things are headed I'll die first anyway so it's fine I won't have to face losing you)', and they're equally baffled and hurt by each other's POV. but they're both right, and they're both wrong. there's no 'right' way to deal with caterina's treatment of them, or their situation. the house always wins, if you pardon the expression. house dellamorte still stands and that is what matters to caterina in the end more than anything.

it also fits so well b/c like... their core wounds are that illario is the least favourite and is constantly dismissed, so he has to prove to caterina again and again that he matters. not even that he's worth love or respect or warm regard, but that he's here at all and as such should be considered. he has to shout 'in case u forgot I EXIST!!' at the top of his lungs or else be rendered nothing within the family structure (and himself, because it's all about family, that's all that really matters. in some weird twisted way I think caterina openly declaring him before all the other crows to still be of house dellamorte -- and no one from house dellamorte kneels -- is kind of a victory for him, as much as it's also a furthering of a prison sentence and public humiliation. house dellamorte brainfuckery goes hard.). lucanis is the favourite, and it's the double-edged sword that he gets all the affection and attention but also all the control and impossible expectations. drowning under all of that constant stress and close evaluation, his brain whispers 'I don't exist' to try to escape, to hide and hold on to the deep parts of himself that are crucial to life but not part of the perfect grandson caterina demands of him as the price of her love.)

I think a lot about how what seems to disquiet lucanis the most post-ossuary (as it would anyone with that psychological makeup) is the dissolving of internal boundaries and control he's been relying on, which is part of what spite symbolizes. his anger and reactivity has seceded from the union to the point of personification as a little guy (a little guy he resents and fears for his unpredictability and invasions into regions of his psyche he wishes to stay frozen and barren, and yet cares about deeply, loves! and also constantly dismisses and frequently helplessly lets down unless he's helped to learn to do otherwise. does this remind you of another relationship in his life, perhaps. it makes me feel nuts to think about the illario/spite parallels thanks for asking), and now that little guy is out there running the show freely the moment he glances away or closes his eyes. literal nightmare scenario I feel for him so deeply. so much of his coping is predicated on being able to Not do or feel or want certain things, and that's out the window now, Spite has Opinions. Spite refuses to stay wisely in place even if that place is hell on the logic that if you move you could find yourself in a place that's even worse, somehow. Spite actually wants to experience the world, however fucked up and scarring the way he arrived here, not just endure it. Spite means he has to face that maybe illario wasn't wrong all those years, at the same time as having to admit and face what illario has done to him, and figure out what to do about any of it.

anyway. mary kirby ma'am that's some good fucking metaphor work. thank you, and sorry about all the shit that happened

[sorikuceo]

🚬🚬 band au

[letmetellyouaboutmyfeels]

How to Have Lightning in a Bottle and Absolutely Waste It: A Writer's Guide by Tim Minear

[nadiajustbe]

I think the most beautiful thing about writing of Howl and Sophie's pair is that they are written as people before being written as a pair. Let me explain this very quick.

The thing about book Sophie and Howl is that they are not really fully fitting into any "classic" romantic trope. They are not exactly enemies to lovers, as their angry chats are definitely cannot be considered a life or death battle, they are not rivals to lovers because the only aspect of rivalry between them is the cleaningness of Howl's room. They are not friends to lovers, as their relationship just doesn't fit into "friendship" structure at the very start, nor they are roomates (yes, they live in the same house but that's not the core aspect of their relationships). Of course, you can go on and fit the name of the trope you found specifically for them, but that's the thing.

They simply cannot be processed through a pairings lenses only, in order to understand how they act in relationship you need to analyse them separately, as a characters first of all. Cause that's what the book itself does!

Sure, it doesn't have a whole lot of romance instead, but it gives us time to learn and observe the life of incredibly written, alive characters, understand them as personalities first of all, while slowly immersing the dynamic between two characters (in this case, Howl and Sophie) into work. They are written as personalities, both being fully separated and interviewing, changing eachother's point of view.

It's difficult to find a trope for them. They're are not a trope. They are Howl and Sophie, and that's probably the only way their dynamic can be properly described. Just as real people, they are not really fitting into the boxes of linial character progression, but go way deeper into being complex, filled with little differences and moments only people with their personality can have in romantic (or any different) kind of interaction. They're imperfect, and silly, and multidimensional and the reader knows them well enough to imagine them interacting way beyond of what the book says to them.

They are being people before being a ship, a pair of a trope — and that's why they work so perfectly charming in the end.

Howl and Sophie are unique in being themselves.

[soratsuart]

I find it incredibly funny seeing some fans complain that the movie wasn't "lore accurate" as if FNAF has ever been consistent with its lore, like

Wow, the movie changes a lot of stuff and is not accurate to what we thought we knew? *looks at The Silver Eyes trilogy* I can't believe that, how horrible *looks at The Silver Eyes trilogy* Who would've thought they'd change stuff that makes us doubt what we know about the series *looks at the fourth fucking closet*

[chloesimaginationthings]

Never trust mfrs who sound like FNAF Gregory or Ollie

[campbenji]

interesting that so far, in every season of jwct, the nublar five have been paired with a secondary character (mateo in s1, zayna in s2, possibly ben's girlfriend in s3)

[nartml]

was it casual when i had a panic attack at the thought of you dying was it casual when you risked your entire carrier just to feed me lunch was it casual when you were willing to die protecting me even though you wouldn't accomplish any of the goals you devoted yourself to was it casual when i spent so many nights rolling around in deep thought about whether you think of me like i do about you was it casual when i wished for you upon a shooting star was it casual when i refused to let you continue your way down a path of self-destructive loneliness even though you wanted me to was it casual when you needed to kill me and only me to grow stronger and be entirely untethered from your past but you just couldn't was it casual when i preferred to bear your pain and hatred and die fighting you as opposed to giving up on you was it casual when i could trade blows with you (read your heart) even though your supposed wife couldn't was it casual when i was your one and only was it casual when the hands that we blew off of each other bore the evidence of our cosmic connection was it casual when you cried your first tears of relief and happiness after you lost to me was it casual when you kept in touch with me but not with your wife was it casual when we fought and laughed and became inseparable was it casual when i can't exist without you was it casual when i put all my goals on hold because how could i focus on them when i can't even save you was it casual when you were my main motivation for training to become infinitely stronger was it casual when i'd remain a fool my entire life if being smart meant that i had to give up on you was it casual when you know my heart i yours was it casual when

[ingravinoveritas]

One year ago, Radio Times wrote an article about the legacy of Good Omens up until that moment in time. Today, we mark six years since the first season of Good Omens aired on television, and the words written above seen more pertinent than ever before.

So much has happened over the last year, to where it seemed uncertain whether we would even have a final season. Filming has already come and gone, and we find ourselves now looking with much anticipation to the next (and final) chapter of the show. To discover what will become of our beloved angel and demon, and to find out how their story ends.

The remarkable thing about Good Omens, however, is that it has been the beginning of so many other stories. Seasoned friendships and relationships that formed and flourished in 2019, deepening with each successive season, and newer friendships that started with the release of season 2 in 2023, and beyond. Something that became less about watching a show and more about finding the people who touch your soul. No matter when or how you became a fan of Good Omens, it found a way to transform your world.

And this has perhaps turned out to be true for Michael and David themselves more than anyone else. Michael, who very recently said that Good Omens changed his life, and David, who has said that he would return to doing these characters every two years for the rest of his life. It's what Radio Times so brilliantly highlighted in the excerpts above--the dynamic between Michael and David that seemed so rock solid from day one, the way they effortlessly play off each other, and the undeniable chemistry of that kiss in the Final Fifteen--a kiss that wouldn't and couldn't ever be the same with anyone else.

It seems hard to believe that season 3 is now on the horizon, and that this part of Aziraphale and Crowley's story is nearly done. But what Michael and David have created--separately, but most especially together, as a team, a group of the two of them--will continue in perpetuity. The music will swell, the end credits will roll, and all will fade to black...but that chemistry and that magic is forever.

No matter what ends up happening in the show, we got to live at the same time that Michael and David found each other and played these roles together. And that's truly something to celebrate...

[bennetsbonnet]

Criticising the characters in Pride and Prejudice because they don't perfectly live up to romantic ideals is like complaining that a book of soup recipes doesn't tell you how to split the atom.

Pride and Prejudice is not a romance. That is not what Jane Austen wrote. Pride and Prejudice is a novel of manners. It is far more of a social commentary than a love story. Are there romantic elements? Of course! But romance is far from the primary focus.

Reducing a story with the breadth and depth of Pride and Prejudice down to merely a romance not only undermines Jane Austen's genius in observing and successfully satirising the follies of human nature, her skill in balancing humour with dramatic elements and her talent in creating believable, relatable characters who leap off the page; but it also undermines the joy it has brought to the numerous readers who have loved the story for more than two centuries for far more varied reasons than simply its hero.

Why does Pride and Prejudice have such enduring appeal? For so many reasons beyond hysterical ladies suffering from The Vapours every time Mr Darcy is mentioned.

Personally, I enjoy seeing two flawed people overcome their personal shortcomings in order to live a happy life together, with plenty of hilarity from a cast of memorable and surprisingly relatable characters along the way. That's why, to me, it is so appealing. The characters are so layered that there is always something to be discovered on each and every re-read.

I am not a silly, hysterical woman reading it repeatedly to fill a void in my lonely, loveless life and pining for my own Mr Darcy. I enjoy the story for so many reasons and I am also fully aware that I will never find a man like Mr Darcy... because he is a fictional character from the nineteenth century written by an author born 250 years ago...

[harocat]

Esther's cuter characters aren't 'all the same' and they aren't annoying. You just don't allow yourself to see depth in women and don't give them the same chances you do men.

[vaguely-concerned]

so when adaar tells harding that they got her mother out of danger in ferelden before the blight really hit, and that she's safe with 'some old friends' for the duration... good people of tumblr I was just hit with the incredibly funny concept that harding's ma is spending the entirety of the veilguard double blight hanging out with the valo-kas mercenary company. ma harding and shokrakar is the buddy comedy duo I didn't realize I needed until right in this moment. they butt heads to begin with but end up seeing eye to eye eventually. with the help of some crates, and creativity.

(...in fact since harding's parents have canonically amicably divorced since inquisition.......( ͡° ͜ʖ ͡°) hello my second nichest but also perhaps most valid dragon age pairing thus far. lace bringing taash home with her for the first time only to find her mother standing on a chair to also be passionately making out with a powerful and bluntly hilarious vashoth warrior is something that can actually be so personal.)