#some stream of consciousness stuff

[cryptovexillologist]

[wavesoutbeingtossed]

Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

[stargirl-and-potts]

Dammit, i just want Stede to open up about his traumas. It seems like the other characters think he's got it all sorted, but he's gonna explode at some point

He's such fertile ground for fic writers! There are so many things he needs to process. It really hasn't been that long since he left home and even began to understand who he is and could be, and how much better life can get than what he’d had -- I think he's got the time and space now to feel the things he needs to feel, away ashore with Ed. He does strike me as a guy who needs to work things out internally while he's trying a new way of living, and the doing helps him understand -- I think he'll end up dropping unexpected little bits of backstory and self-revelation and regret and adoration on Ed while they're in the middle of fixing stuff, or burning dinner, or sitting on the porch at midnight staring out to sea, and Ed will have to scramble to catch his breath and process the thing while Stede is super calm about it.

[ygodmyy20]

Summary:

What if Dimple wasn’t there…and the fire consumed you? OR A stream of consciousness sorta wibbly-wobbly prose on what if Shigeo found his family's bodies in the fire. And Dimple wasn’t there.

I recommend taking a look at these amazing gifs of the roughs of this scene before reading because it really is what got this all started.

It just…hits you so hard. I couldn’t get this out of my head. I just kept thinking about these few seconds between when Shiego sees the bodies and Dimple snapping him out of it.

So enjoy whatever this is that I created.

TW Body Horror in the fanfic, but not the fanart below.

Also drew some art for this. I was...in a place today. It wasn't a great day.

[miabrown007]

a minute of silence to my skills to estimate how long a project is ever going to take

[shizukahaiji]

About to say something controversial but I think some of the Blue Lock fandom is getting way too comfortable with being homophobic

[soldier-poet-king]

Apparently tumblr hates my concert photos and keeps eating my posts with my tag essays so HERE U GET MY CONCERTPOSTING TAGS SEPARATE and I'll try the photos again after BC if I type this one more time on my phone to lose it I'll scream

[ilovedthestars]

that post went around a little while ago about missing school & convincing yourself you really want to write essays and i'm feeling it a little right now ngl. except for me it's not the essays it's the art. and also you know i am still actually in school so this is really not the same thing at all lol. i am just Thinking about school because i recently got a move in date and it's less than a month away and summer is suddenly Ending.

i'm taking a class next semester called Color. four and a half hours of color theory every week!! for a whole semester!!! color theory and nothing but color theory!! in case it is not clear this sounds incredibly fun to me and i am sincerely hoping it lives up to expectations

i am Yearning for some paint on my fingers. yes i could just paint something right now but that is not the same. possibly i should do it anyway though. but not at 10pm. maybe tomorrow

anyway. i'm not sure why but i am currently feeling weirdly nostalgic for painting tiny squares of paper in a dorm room at a time when i would have preferred to be asleep. i miss going to the art building on the weekend when i can have one of the big classrooms with the huge tall windows all to myself and sit there cutting cardboard with a box cutter and hot gluing it back together for three hours and call that my homework. i miss trying in vain to get charcoal dust completely off my hands in one of the ten million random sinks in the hallway that all have big signs about how you should please not wash mineral spirits down them.

you know it really has been too long since i did art that wasn't digital. i should do some art just for the feel of it. not to make anything just to smear some charcoal around with my fingers or something. maybe do some exercises, but do them like i have to bring them into crit tomorrow and i only have a couple hours this evening and it's our first time with this technique anyway so they don't have to be that good. it would be good to remind myself why i'm doing this art school thing in the first place

[camellia-thea]

finally clearing my works off google docs and onto my ancient version of word and i keep going "oh wow i forgot i wrote that"

[adreamoverlife]

There needs to be a study into why after writing around 5000 words you suddenly hate everything about your fic

[spongebob-connoisseur]

@mooncharm96

Iron deficiency

[hum--hallelujah]

it's Crab who does the saving. of course it is, the nurse, the silent, confident, so very calm one of them. the one who loves Benzedrine more than he could ever speak. of course it is. but he's not calm, and he's not confident. he is not the doctor. he's not meant to be. he's always been meant to be the support. that's where he thrives, where he was born to be. of course he would be the nurse. his heart is pounding and he's breathing fast, too fast, and sweating, he can feel it. he's terrified that he's wrong, that he's going to be wrong, that he's going to do something wrong and kill Benze instead of save him. he can't get the moment out of his head. the split second, not ten minutes ago, walking into the station and Benze on a chair, slumped over the table, unresponsive. he thinks his heart stopped, but it's beating too hard for asystole right now. he knows diagnostics. Benze taught him this. he knows what an overdose looks like not because of books the way Benze learned it but because he's seen it happen before. not often, but when partiers in the Zones get their hands on City drugs, they're prone to taking it too far. this isn't party drugs, though. that isn't Benze. the bottle on the table, empty but for a drop, reads morphine. Crab thinks of this morning, before they'd left for the track. Benze had been down, and hard, with a headache. he said it was normal. he said it was fine. but he hid under a blanket and groaned whenever Sandman or Donnie talked too loud. he'd been in pain. how long has this been happening? how bad has it gotten to warrant this? how desperate must he have been the first time to stop the pain? how hadn't Crab known? he'd sat on the edge of the bed before leaving and kissed Benzedrine's temple. he's morbidly glad for that. fatalistic, but if that's the last interaction they'll ever have had, at least it was that. his hands are shaking when he signs at Sandman and Donnie, either or, whoever has more presence of mind, to find- he doesn't have the time to fingerspell it. Benze's lips are turning blue. he's not responding to- the word is stimuli. the sign is a mimicry of poking someone. so it's Crab who retrieves the medicine, of course it is, of course it's Crab. this vial is labeled kloxxado. Benze called it naloxone when he found it in their inventory the first time. Crab's hands are shaking as he preps a new injection. most things work fastest intravenously. the blood does it. the heart does it. his heart is thumping out of control. his heart is beating just to keep Benze's the same. his best friend doesn't even respond when he sticks the needle into his arm. Benze might be the one who’s dying (he can’t die, Crab won’t let him, of course he won’t, he can’t-) but Crab thinks maybe he’s only alive for Benze. like maybe if Benze dies he will too. like maybe the only thing keeping his heart beating is the fluttering pulse he can feel as he holds onto Benze’s wrist. he feels like he’s gonna pass out but he does all the right things, keeps his best friend alive despite himself because of course he does. he’s the caregiver. he’s the nurse. his heart is beating for this. (his heart is beating for Benze)

[mwagneto]

got the meme bootyshorts what should i get printed on them. torn between enemy of the state and the ceaseless watcher thing. WAIT I HAVE POLLS NOW HEEEEHEEEE

[pineapplepizzaandmovies]

Everyone who keeps watching the endless barrage of soulless regurgitated superhero vomit is part of the problem of original movies with mid and low tier budgets being largely pushed out of cinemas to make room for dozens of screenings of a self-referential product of cgi noise they already have seen numerous times with slight variations.

I'm so tired of walking by my local cinema and only seeing pg-13 family friendly 'action' being screened.

And don't give credits to companies for a single same sex kiss in the background or a single throwaway line about sexuality or gender they can easily cut out for the china release.

I've got nothing against mainstream entertainment movies on their own, but all the few big studios who have the ability to finance every movie you can think of are ONLY making those and they mercilessly push smaller stuff out of the way because we apparently really need 30 screenings of dr strange and ant man gaping the avengers: the grand messy finale: part 4: phase 5 out of 69 per day at a single cinema.

[neverendingford]

.

[badartxd]

HI HEY I am bursting into your ask box like Cosmo Kramer busts through his neighbour's door. I'm working quite irregularly through my backlog atm and regret that it's taken this long to get asks to you BUT I submit for your kind consideration the following OC Interview Asks to pass on to Yara my beloved :D (also I send her (and naturally you as well!) an excited wave and like seven thousand cool rocks)

16. Describe your perfect day 21. Describe your ideal partner 31 (freebie)- Tell me about your ideal house. Would it be big? What kind of colours/styles/things would you keep in it?

*first time trying to write her speaking, so sorry if it’s clunky and took a long while! She can be kind of verbose sometimes, Also, small text is quiet mumbling to herself, and bold is louder/more rushed excited speech. Tak tak tak is equivalent to “yes yes” “so” or “well well well”. Yolki-Palki (fir trees-sticks) is a euphemism for “fucking hell”. Sbornaya solyanka (solyanka soup with everything on hand) is an equivalent of “hodgepodge”.

Yara lifts her arm halfway up, more akin to one lifting their hand to ask a question than a wave, and smiles at you. She seems to be hard at work fiddling with something rather small, all the while throwing uncertain ~~bashful~~ glances at the formidable pile of rocks. She takes a deep breath.

“It’s good to see you, Plant. Tea? I have a great fruit one right-“ she seems unsure of how to approach the gift, giving off a slight deer-in-the-headlights feeling, albeit a distinctly pleased one “O - for me? Thank you. I didn’t expect such an addition to my collection- oh, you should see it when it gets organized!” The latter part of the sentence is significantly louder and faster than the rest as she claps her hands together “I’ve acquired a lot of new specimens from my last trip to Orzammar, even got my hands on some very curious raw lyrium…” she gives you a conspiratorial but overly exaggerated wink. She might not be very good at winking “of course, it is not to come into contact with anything, but it’s fascinating..!”

16) “Ah! My perfect day? Tak tak tak.. “ she drums her fingers on the table introspectively before reaching for a journal and leaning back, the next words coming out in a mumble “That’s a lot to fit into 24 hours… or, are you talking daytime? 12 hours, then? A perfect day… perfection is a bit of a difficult concept… Well, Zev would need to be there, of course, and Mishka should come too, and it would need to be somewhere nice - no, that’s too cold, and that’s a bit crowded, and I don’t think they allow dogs after last time- I think the gardens near the central market would do fine, they got some new plants - some quite toxic too ! - and there is the duck family and some of the people who come there are really weird! (Is probably firmly cemented in the neighborhood as one of said people, but the irony is lost on her) Yes, I think he’d like that. That and the more interesting shops…oh, and the fruit tarts! No, Mishka, my perfect day doesn’t include you eating the ducks! You can always make your own list!” The Mabari peeks over her shoulder, and sighs dramatically. He doesn’t have opposable thumbs. “Alright, we can stop by for some treats and take a few toys…Plus, I think this alleyway is quite infamous for murders lately, so that’s always fun!! To solve I mean. Or commit. Both is good..” she grins to herself ……at this point, it looks like she’s building a schedule. There is a murder slot. It’s a pretty big one. Mishka seems pretty excited about it.

21) “Oh, I already have one! Elvhen, Antivan, about 165 centimetres…no, that doesn’t seem right, I mean… that’s not..” There is a period of silence as her face appears to take on a grim expression, offset only by its clear shift to a bright red hue as she glances towards the other room. “He’s perfect, but I’m not sure how to put it into words. I haven’t ever thought about that kind of thing… he’s … he’s fun, and smart, and skilled in a scary amount of things, and takes things lightly and in stride. and …he cares, y’know? I s’pose that’s what caught me off guard the first time.” She fiddles with the knife in her hands some more, contemplating her answer “His position was complete garbage, y’see, but he still tried to have the best time he could, and he was very… straightforward in some ways…. Kind, even. T’ be honest, I didn’t get that at all” she chuckles, desperate to hide her embarrassment “Especially towards me. Other people I can understand, admire, even, but he just… spoke his mind when it counted, consequences be damned, and made sure everything was alright, despite everything… I know the feeling, and the conditions, and it’s hard to care about anything , much less so others. I’m … unsure of whether that answers your question.” She now seems genuinely amused. “Yolki-palki, leave it to moi to fall for an assassin’s kindness of all things. He made such a funny face when I told him, too… in my defence, the ~seduction~ went right over my head the first time and he’s wonderful and really should’ve seen it coming..”

31) “I’d say the place is pretty big.. it’s got a solarium, and a library, and some Knick knacks we picked up on the road..” it is unclear if she means the move, the travelling, or their journey through Ferelden as the road, but by the looks of it, it is a bit of everything. Weaponry and gems, among other things, appear as exhibits visible almost everywhere throughout the house. A wide smile precedes her next words “ a garden, too, and we’ve even managed to start up something of a brewing business. Plenty of room for ingredients. Style wise, well, it’s a sbornaya solyanka to be sure. We haven’t changed too much” she shifts in her seat. While the place does appear to house quite a few out-of-place items seemingly either handmade or closer to the Renaissance styling, both older and newer, clearly added in rather recently, the home appears to have been designed in a pretty consistent Gothic styling. “- it was a gift from an … old benefactor.”

After adding a few finishing touches, Yara sets a whittled figurine of a serpent down on the table , sliding it towards you :)