Thinking again.
Thinking about Echo. Thinking about Echo who's watched all his brothers die. Echo who's died himself, and who's been mutilated and tormented. Thinking about Echo praying that maybe- just maybe, his brother isn't dead. That he can save him like he was saved.
Thinking about the guilt that haunts Echo everytime that thought passes. Thinking about how disgusted Echo must feel wishing for his brother to go through what he does all for a chance to save him.
Thinking about how Echo must feel horrible for hoping. Thinking about how selfish Echo must feel.
Thinking about Echo on Hoth. Where its cold. Where its lonely. Thinking about Echo dying in the cold. Again.
Thinking about Echo praying he stays dead. Thinking about Echo alone, cold and dying, praying he doesn't wake up. Thinking about Echo apologising to every single brother he's ever watched die. Thinking about Echo apologising to Tech for praying he became an experiment. Thinking about Echo apologising for being so selfish.
Thinking about hope being the last part of Echo.
Thinking about how hope has held him together for so long. Hope of victory with his brothers. Hope of a peaceful death. Hope of being found and recovered. Hope of finding and recovering another. Hope that his fight will be worth it. Hope that it's not for nothing.
Thinking about the irony. Thinking about how Echo will die, cold and hopeless. Thinking about the warmth and hope he brought. Thinking about how no one will ever know.
Thinking about how Echo will think himself selfish for wanting better.
((for you @alabyte <3))
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will never forget the time i couldn't sleep at night bc i was sat there giggling while repeatedly saying damn girl has your gender got fleas?? cuz ur pronouns are it/she omggggg
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Thought that keeps plaguing me since that Roscoes with Daya, Camden and Jasmine, with Daya still being horny for her castmates... and now Jasmine talking about sexual tension.
Just. Jasmine flirting a little with Daya, asking her if she was thinking about someone in particular. With Daya being a little dumb, admitting Jasmine could be one of them.
And uh.... a lot of stuff happens but Jasmine gets a facial at the end.
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“One weird, silver lining positive from the WGA's strike has been a sense of calm over a reality that has plagued me with anxiety for years — the fact that despite having a great agent, manager, and lawyer, despite having been in hundreds of rooms with top execs and producers, despite having pitched countless networks, and despite having sold multiple pilots and pitches, I still work in food and bev. For so long, it felt like such an embarrassment in so many ways because it felt like I was the only one who was biding time in between sales with a side hustle. When I would tell people at work that I wrote television, they'd look at me like I had ten heads, or like I was delusional. They couldn't IMAGINE someone who *actually* wrote television would also be asking them what temp they wanted their salmon.
But the reality is, TV money goes fast, especially when it's just a pilot sale. And if shit doesn't get picked up to series, that money only lasts for so long. Being responsible meant swallowing my pride and keeping a job that was more consistent and steady but also gave me the ability to take pitch meetings, to write on my down time, do rewrites, answer e-mails, and take notes calls.
And for so long I thought I was a minority in that regard. Like I had done something wrong to not be successful enough to rely solely on my career as a writer.
Yet the strike has pushed SO many stories to the forefront of writers doing the exact same thing I've done, GOOD writers, great writers, writers who shit I watch all the time, whose names I instantly recognize, whose reputations in this industry precede them. So when the studios leaked that the goal was to bleed writers dry, to make it so we lost our homes, I had to laugh. Writers like me will literally do anything to keep the dream of writing alive. It's in us. It never goes away, no matter how many steaks you server, how many martinis you mix, how many cold calls you make, how many Uber passengers you pick up, how many pizzas you have to deliver. We always always always find a way to make it to that next great hope of a pitch, a sale, a green light.
And that's how you know that the CEOs are so fucking out of touch with reality. With the industry. With the POINT of the industry the point for most (not all, but most) has never been to be filthy rich, or own a yacht, or even have a membership to SoHo house. It's been to make something we love. To see it come to life, and make other people happy, or sad, or angry, or scared. To take this story you have kicking around your head and turn it into some epic journey. To be part of the process of making worlds and characters come to life. To tell stories.
The CEO's point has been to make as much money as humanly possible. And so they think that's all there is motivating writers. it's not. It never has been. Just because those CEO's wouldn't wait tables or mix drinks or drive a Lyft in order to keep a dream going, doesn't mean the rest of us wouldn't. The CEO's don't have a dream, they have a lifestyle. And I promise you a dream is a much better motivator than a yacht or a Porsche.
Try to bleed us dry, guys. Just because you'd let your own dream bleed to death, doesn't mean we would. We will always find a way to keep it alive.”
—Stefanie Williams, a tv writer on strike
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