#there's also this thing (the episode where he gets stuck out of time and only sees jake a few times before he dies

[murkystarlight]

It's time I finally say it- *sigh*

I don't think. The Ocelots were friends.

Yeah- wow. What?! How could you say that?? Where did you even get that idea from? Huh? It makes no sense!!?!

I know. I know. But I have my own thoughts. My brain- doesn't like how they are friends. Because they don't seem like friends. Like for starters, Aiden, Maya and Gill were literal bullies. Lukas, didn't give a crap when he saw them bullying us. If you are a friend, and your friends are bullying someone, you tell them not to do that. Not just stand there and go "well, that's none of my business".

And even if he was just too scared to confront them, he's the leader apperantly? Also, if he's getting manipulated... Lukas probably would've said or done something about it(or left them even. Though this one probably ain't the case). We know Lukas is a coward at the beginning. But he isn't that much of a coward. And he is not someone who wouldn't not stand up to himself. He stood up to Axel. Why not Aiden??

He couldn't stop them, because they aren't his friends.

But- Lukas literally calls them his friends? You're just saying stuff

Yes. He does call the Ocelots his friends. And yes, I agree. They are a team. How could they not be friends?? What I mean to say is... they aren't really close friends. They weren't childhood friends or.. something like that. That's what I'm trying to say. (And that probably crosses out the- Aiden and Lukas ex-boyfriends thing too-)

They met, for the purpose of winning the building completion. Nothing more. Nothing less. That's my theory. My headcanon. That's just what I think.

Now if you think about it, no one. And I mean no one, other than the Ocelots, have 'matching jackets' or 'a secret handshake'. Because they don't need that to prove they're a team. But the Ocelots- they do. They need something to remind themselves that- 'we are a team. We're in this... together.'

Maybe Aiden, Maya and Gill was a team. But they needed more people, new ideas. And Lukas joined in after? Got... recruited? But I don't think Lukas could have been friends with the Ocelots to the point they were "close"

But they won the building compation like... 9 years in a row. So they must've known eachother for some time. Right? But. In that part where you make a slime block? Lukas mentions something about "you guys seem like close friends" and Axel replies with "what. You jealous?" He is jealous. Of course he is. He also wants to have teammates that care for each other and are close friends. Sure the other Ocelots are friends with him, but not to the point where they go visit each others houses and eat a meal together. The only time they meet is during Endercon. And they decided what to build, and how to get rescoreses and getting the resources. So they never really were that close.

During the Wither storm, we know how the group kept talking about Petra. Hoping she's alive and finding her way here. Lukas mentions it too. Quite a lot actually. But does he ever mention the Ocelots? Nope! Only on the fourth episode when Petra or Gabriel says "I recognize that jacket! When I was getting thrown from that monster" only then does he think about them and remember them. I'm not really overstepping here. He kept mentioning Petra previously, and not only when the others talk about it. He brings it up first in conversations a few times too. Like when he decides to stay behind at the temple and rebuild while waiting for Petra. Hoping she'd come. And in the later sixth episode with the White Pumpkin. Before they find the 'invitation' Lukas mentions Axel amd Olivia. Being worried about them. And- I'll be honest here. I didn't even think about how they could follow us and get stuck in Sky city that is currently in shambles! He cares a lot! But he only remembered the Ocelots after Petra/Gabriel mentions it?? And you could say

The others hate Lukas. And the rest of the Ocelots. Wouldn't it be weird if he talks about them?

Maybe. But no. There are.. a lot of random dialogues in this game as you all know. And Lukas mentioning his teammates/friends? In a subtle way during a conversation? Or maybe just slip it in while talking about finding Petra? It wouldn't be that weird at all! Just a simple "I know you aren't fond of them.. but I hope the other Ocelots are okay.." would have worked perfectly! It isn't weird! He could have easily mentioned his dear dear friends, but no. Not once. Because he isn't that close with them. He just thinks "they're probably doing fine-" and is okay with that.

Now- if we talk about Sky city...

Aiden doesn't seem too unhappy or sad that Lukas isn't on the team. In fact, he ditched Lukas himself!

And Lukas, also doesn't seem so sad about being kicked out. He seems more upset that there's no longer 'the Ocelots'. The team itself. Not the members of it.

In fact- it's almost hilarious, cause Petra seems more pissed off than Lukas is! All Lukas says about Aiden is "he's gotten meaner." Or "Something is happening. He's planning something" nothing about how he got ditched. Maybe he didn't want to talk about it. But it never comes up??! Not even after a while!

And in later scenes, Aiden doesn't care if Lukas dies or not. Just push him off a cliff and oops- is all.

And near the ending of it. If Aiden decides to redeem himself, he says sorry to Jesse. Not a word to Lukas? Not a word with Lukas? LUKAS DIDN'T REALLY GIVE CRAP ABOUT IT EITHER?? ....are you really friends? I mean' just the fact that Aiden ditched Lukas because he seemed to be sniffing around Jesse's gang is weird. If you're such good friends, why don't you try talk it through? It's not even that bad- I know there's a rivalry, but still! Maybe a bit over reacting??

But apparently, Lukas never mentions how he feels about the situation. Like- not once? C'mon. You can't say they were close friends without- Lukas doesn't saying a thing about Aiden or the other Blazerods. Although we do know Lukas is mad at them. But for what? He seemed fine before, or was he just hiding all his anger? It just- it just doesn't sit right with me. I'm sorry- but that's what I think

I'm not saying they weren't friends at all. I'm saying they weren't close friends. Or childhood friends.

I mean I'm just rambling so... just ignore it if you don't like it. And I would gladly ramble more about this if anyone wants me to-.

If you ask me questions about the stuff I said, I will happily (try my best to) answer! And maybe share stuff about why you think the Ocelots were close friends to make me open up more to it.

I mean... I am open to it. But i just like this opinion too much-

[a-stitch-in-time-and-space]

benjamin sisko autism

benjamin sisko as a man with mental health issues of some kind

the visions of joan of arc the trials of moses, you will bleed into the story until you are more mythology than man, more dream than dreamer

mythologies and religion is the same as science and travelling you will die if you keep having these visions

sports creating narrative structures you cannot know until you have reached the end

despite the feeling that the end will bring sorrow, you must continue 

benjamin sisko as larger than life and as a relatable man who is struggling with how his mind works

[poppyseed799]

I have this problem that’s like the opposite of nostalgia or something where some things I remember liking a lot as a child I look back and only remember the bad times.

This is specifically about Animal Crossing, loved that game as a kid, but I have literally no idea why, cuz it was just pure hell for me from what I can remember.

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

[cornfieldsrambles]

YOU HAVE PERMISSION TO INFODUMP PLEASE TELL ME ABOUT WIGGLY'S SIBLINGS???? THAT HE APPARENTLY HAS????

omg ok SO

Meet the Lords in Black. Charming, aren't they?

Yes, Wiggly does indeed have four brothers who all do different things, so I'll cover them one by one, in order of introduction (since we've already met each of them in Nightmare Time at least once). BTW Nightmare Time has a fuckton of lore in it that I won't go into here, so even though I am about to spoil significant parts of it for you, I do recommend watching it, it's really good and if there's enough interest they might make a third one!

(Also you might notice they're all in doll form in this picture. This is how we knew them up until NPMD introduced us to what I call their Tumblr sexyman forms. Which are rad as hell by the way.)

So you already know Wiggly. That little green fucker, Wiggog Y'Wrath, the Capitalist Cthulu who does uwu-speak and starts a cult by invading people's minds. This will become a bit of a reoccurring theme with these guys. He's also the only one to successfully start an apocalypse, and the only one to have attempted to birth himself into our reality. (Or is he? We'll get to that...) He does seem to have some kind of dominion over the other LiB, as whenever all five of them show up there's always emphasis placed on him, like in NPMD where he does most of the talking while his siblings occasionally butt in.

Now for Bliklotep. Blinky seems to have slightly lower-scale ambitions than Wiggly, but don't let that fool you. Eyeball Boi is still incredibly dangerous. He runs an amusement park, WatcherWorld, deep within the Hatchetfield Witchwood. But it's not for the amusement of the patrons. Oh no. It's for Blinky's own amusement. Once you step inside, every insecurity, every shred of potential conflict will be ripped to the forefront, turning people against each other to the point of trying to kill each other until he's fully infected their minds. It's implied that, if not all, but a significant chunk of the workers at WatcherWorld were once patrons before having their minds taken over by Blinky. He's also implied to be the thing in Trail To Oregon that Jack Bauer sees during his venom-induced hallucination, as Blinky is referred to as "The Watcher With 1,000 Eyes", which is exactly what JB says he sees? Making Blinky the only LiB to induce a Starkid crossover. My headcanon is that the Dikrats founded Hatchetfield. But regardless.

Next up on the roster is Tinky. T'noy Karaxis, the Time Bastard. You may be wondering about that one line in NPMD where he recognised Pete as a Spankoffski, and said he "could have the whole set in his toybox". Has Tinky gone after Pete's relatives?

Well. Um. You know Ted, right? Yeah, his name is Spankoffski. He's Pete's big brother. We actually got the surname reveal before the brother reveal, lol. And that's not the only reveal we got about Ted. Our boy Teddy Bear has this whole entire tragic backstory and it turns out he gets fucked over in literally every timeline! Isn't that fun?

So, to summarise an entire episode: Tinky makes travel fuckery happen, Ted wants to go back in time to fix his life, accidentally goes back to before the time machine was created and gets stuck in the past, literally. Tinky is watching and laughing at the whole thing, then shows up to blow Ted's brain to smithereens with his weird little magic box, the Bastard's Box, where he stores all the people he toys with. Anyway Ted eventually catches up with the present by aging, except now no one knows who he is, he's... actually I won't spoil that. But once he dies he ends up eternally trapped and tortured in the Bastard's Box. Yaaay.

Fast forward to Nightmare Time 2 and we get introduced to Nibbly, in possibly the most unexpected way imaginable. He's revealed to have been behind a whole episode literally right at the end of said episode, and even though it was kind of foreshadowed, it hits you like a freight train in the best way. Remember when I said Wiggly was the only one who tried to birth himself into reality? That was kind of a lie. Nibblenephim can sort of do that anyway. Every year, he can possess a bunch of carcasses and create a living form to walk the earth for one night. He also has a cult of followers who provide him with the carcasses, as well as a sacrifice to feed on. There's a little more to it, specifically with how the sacrifice is chosen, but again, I'm trying to spoil as little as possible. Go watch Nightmare Time. Nibbly also seems to have a "pig" motif, and his theme song, The Nibbly Ditty, is a banger, easily my favourite of the three LiB theme songs we've heard so far.

And finally, we are introduced to Pokotho, in the very last episode of NMT2.

Except no. We were formally introduced to Pokey there, yes, but we've seen his apocalypse already. Long before NPMD, before Nightmare Time, even before Black Friday.

Yeah, remember me saying that Wiggly was the only one to successfully start an apocalypse? That was also a lie! Pokey already did that, and he did it without ever showing his masked face. Remember The Guy Who Didn't Like Musicals? The blue spores that came down in a meteor and turned everyone into singing zombies? That was Pokey's doing! That's his blue spores! That's his apocalypse!

This also provides an explanation for why blowing up the meteor didn't work. Emma and Hidgens were right about the hivemind thing, but wrong about the location of the central brain. It wasn't the meteor - the meteor was just the vessel which carried the spores to Earth. The central brain was sitting safely up in the Black and White, laughing as Paul blew himself to smithereens. The central brain was Pokey, the Singular Voice, the most uncompromising of his brothers. The one who hates every voice that is not his own, hence the hivemind and making all of his zombies speak in HIS voice.

Anyway in NMT2 he's happily collecting musical zombies by taking on a human form and infiltrating a fighting ring of superpowered children until he has enough to kickstart another apocalypse. (Don't question it, we're almost done). He also calls himself Otho, not Pokey, making him the only LiB to have two different abbreviations of his name. Hannah is also there (remember her? Lex's little sister?) and she is like incredibly important to this whole thing, she has a super powerful mind, but that's a whole other thing.

But I did mention Hannah for a reason. Because you said "Wiggly's SIBLINGS". And while the Lords in Black are always referred to as brothers, they do have one more sibling. A sister. A Queen in White. And her name is Webby.

Yep, Hannah's imaginary friend isn't imaginary, who could have guessed? She's benevolent, always trying her best to combat her brothers' antics, but given that there's one of her and five of them, this is a bit of an uphill battle. Webby doesn't have a full name that we know of, nor does she have a doll. We don't know much about her. And she may not be all-powerful - but then again, neither are her brothers.

Infodump concluded. Hope this helps, it was very fun to write.

[tetsumie]

𝐈 𝐖𝐀𝐍𝐓 𝐀𝐋𝐋 𝐎𝐅 𝐘𝐎𝐔

pairing: kuroo tetsuro x fem!reader

genre: comfort

content: kuroo hasn't seen you in days and makes his way to your apartment to see what's going on with you

cw: reader has a depressive episode and displays depressive symptoms

a/n: hello! i tried writing something for my pookie wookie kuroo tetsuro also lwk very self indulgent.. love u all and tysm for the endless support and as always likes, reblogs, and comments are always appreciated! i could not be here without you all <333

"hi! this is y/n l/n! sorry i couldn’t answer your phone call. i’m a bit busy right now but leave a message and i’ll call you back the first chance i get than-" kuroo hangs up the phone for nth time today and sighs. 

kuroo hasn't heard from you for the past few days and to be completely honest, it’s like you've completely vanished off the planet. your designated seat next to him in both chemistry and english lectures have remained empty for the past week and he can’t seem to get ahold of you at all. 

at first, he didn’t really worry much about it. he didn’t want to pry on why you weren’t coming to school. he understood everyone needed their space. but when he intercepted your friends one day and asked them how you were doing and they too were unsure as well, he knew there was something severely wrong. 

on the other hand, you’ve been home all week. 

you haven’t been in the best place for the past week. you feel like your body is slowly succumbing to the stress and your body is practically giving out on you, working overtime. motivating yourself to study and to work is already difficult enough as is but doing basic things such as getting out of bed and even taking a shower feels impossible. 

you feel stuck in this never ending loop of time where the same things just keep happening over and over. you wake up at the prime hour of 12 pm and realize you’ve missed all your morning classes but then immediately head back to bed. you fall asleep and then wake up at 2 pm and stare at the ceiling above you with no particular thought in mind. eventually, you find yourself scrolling through social media on your phone but then ditch it after a few minutes because a wave of social anxiety crashes into you. 

it doesn’t help that you’ve also been skipping meals and you’re starting to catch a cold. man, you haven’t even gotten out of bed, let alone left your bedroom. you can’t even get yourself to do the bare minimum right now and making yourself an actual meal is a bit too out of your comfort zone. 

and what makes this entire situation worse is the fact that you’ve been pushing everyone away, from your friends to family to the one and only kuroo tetsuro.

there was no justification behind why you were avoiding them. you just couldn’t allow yourself to let them see you in such a lethargic condition. it hurt your pride and in general, you hated having people worry for you. it made you feel, in a sense, hopeless. 

you just wanted to shut yourself off from the world. 

the week goes by in a flash and friday evening rolls around. your phone lights up again for the nth time. you see it flash white but you roll over away, not having the energy to grab it. doing anything especially talking to other people feels exhausting.

a few minutes later, someone's banging on the door. it sounded like the fbi was at your door with a search warrant as if you were harboring drugs. you don't answer the door, not feeling like leaving the comfort and safe haven of your bed.

but the banging doesn’t seem to stop and you're getting irritated so you’re forced to get out of bed and tell the person at the door to come at another time.

to your surprise, when you open the door, you find your boyfriend, kuroo, staring at you with wide eyes and furrowed eyebrows.

“y/n, where have you been?” he begins the interrogation.

you mumble. “nowhere. been at home.”

he looks you up and down, taking in your disheveled state. your face is pale, the bags under your eyes seep deeply, giving away the countless sleepless nights you've had. your shoulders are slumped and the corners of your mouth turn down slightly, a subtle but constant frown. your hair is unkempt, reflecting the lack of energy to even try to care for yourself. an aura of exhaustion and hopelessness hangs around you, making it clear that you're struggling to find the strength to even function.

“then why haven’t you answered my calls?” he continues.

“i’ve just been preoccupied,” you lie and he catches on immediately.

no words are exchanged between the both of you for a few moments. you take his silence as your cue to end this awkward conversation and to send him on his way.

"i'm sure you have better things to do, just go-"

you're about to close the door on him until he says, "let me in."

you sigh again.

“can you come back later tetsu?” you don’t want to have him deal with you like this. he's seen more than enough of you in this condition.

his piercing gaze locks with your tired eyes and he feels his heart clench. the usual shimmer in your eyes gone and all he can see the numbness in your expression.

"no let me in," he states in a strict tone. "we have to talk."

with no choice, you open up the door entirely and kuroo takes a look at the state of your apartment. he would be lying if he wasn't caught by surprise. clothes are strewn across the couch and bowls of empty ramen are lying on the kitchen counter. your apartment is a mess.

putting his stuff down near the door, he begins to slowly pick up your clothes off the floor and tosses them into the laundry bin. seeing him make an attempt at cleaning your mess made you uncomfortable to the point your skin started to crawl.

"tetsuro, stop."

"no."

"please stop," you plead in desperation.

"y/n, i’m trying to help you!" he replies, his voice growing a little louder with irritation at your refusal.

“what if i don’t want your help?” you shoot back and his mouth closes shut. “i don’t want your help or your pity or condolences or whatever it is! just go home!”

although your mouth said one thing, your mind was trying to telepathically convey another.

please don’t leave me now. please stay.

you don’t say a word as you walk into your bedroom, closing the door behind you, hoping he'll leave on his own. the moment he hears the click of your bedroom door, kuroo begins to try to organize as much as he can in your living room. he takes out your old leftover foods and tidies up the kitchen. he starts working his way through the living room, silently sweeping the dust off the floor and reorganizing your items that were strewn on the floor.

as he’s silently working, he begins to hear sniffles and sobs coming from your room. dropping everything, he finds himself standing in front of your closed door, fist about to knock the door.

“love, can we talk?” he says out loud.

it's silence from the other end.

"y/n... please..." kuroo's voice cracks. "i just want to see you."

"door's open," your voice is muffled slightly through the door.

he opens the door and is greeted by you wrapped around in your comforter, looking away from the door. kuroo takes in the state of your room. the curtains are drawn out and there are tissues littering your night stand along with your computer lying in the corner with a pile of clothes in the corner waiting to be cleaned.

you were always so organized, what started this?

kuroo goes over to the other side of the bed and your face is huddled into your comforter. he crouches down and starts to stroke your hair with his hand.

"baby? talk to me, love. what's going on in that pretty head of yours huh?" he coos in hopes of getting you to open up.

refusing to look him in the eye, you mumble into your comforter loud enough for him to understand. "it's been getting bad again... it’s been bad all week and i'm just tired all the time."

he kisses the top of your head. "and that's okay. not everyday is supposed to be a great day. you're supposed to have good days and bad days."

you finally emerge from your cocoon and the sight he's greeted with break his heart into pieces. your face has a slight red flush tint with the remnants of your tear stains on your face. he sees how you're trying to maintain a steady face, trying your best not to fall apart in front of him.

no questions asked, he brings you into his chest and the tears you worked so hard to keep at bay come apart. you start sobbing into his chest. he strokes your back in a rhythmic up and down motion, adding the occasional kiss on the top of your head. he finds himself crawling into your bed with you on his lap as you continue to sob into his chest.

once your crying subsides a bit and your throat feels a bit sore from the crying, you look up at him and he gives that genuine small smile of his that you've grown to love so much.

"i love you, you know that right?" he reassures as your eyes meet.

your eyes shift from one eye to another and you look at him as if he hung the stars just for you.

"i know and i don't know why you love me. i don't deserve you. you deserve someone who's put together and on top of it and just perfect. hell, you could do so much better than me... i don't even know why you're still with me."

his heart cracks at the heartbreaking words, escaping your mouth. he feels so stupid. have you been feeling like this for all this time and haven't said a word to him? he should've done something.

"when we started dating, from that very moment, i knew i wanted all of you. i want everything. i want your bad days and your good days and your lazy days and your rotting in bed days. i want your good and bad. i want your highs and lows. y/n, i just want you." he kisses your cheek.

he continues to reassure you, "i want all of it. and i want to be there for you the entire time. i don't want you to have to hide yourself from me. i never wanted you to be perfect. i wanted you to be just you. that's who i fell in love with."

"i love you with all your 'imperfections' you know that right?" he does the air quotes around the word "imperfections."

"yeah but it's so hard for me to accept-," you start but he brings his pointer finger to your lips, telling you to stop your train of overthinking.

you both are enveloped in a comfortable silence with kuroo's reassuring words hanging in the air.

"i love you so much, you have no idea," you finally say, cuddled into his chest.

"oh yeah? i couldn't tell," he begins to tease. "tell me more actually."

you let out a chuckle, playfully slapping his arm, and that warm, sweet smile of his forms again on hisi lips.

"there's my gorgeous girl. oh how i've missed you."

"missed you too, tetsu."

© tetsumie 2024 all rights reserved

[facioleeknow]

Giving/ Receiving head

Stray Kids headcanon about wheter they prefer giving or receiving head

WC: 610 Genre: SMUT 18+ ONLY

TW: oral giving and receiving, mention of overstimulation and edging, mention of public sex if you squint

Please support me on Kofi if you can, the link is in my masterpost

Bang Chan

He likes both giving and receiving. 

Doesn't eat you out every time you have sex, only when he knows you two have time and can enjoy yourselves fully. During quickies he prefers to prep you with his fingers.

He prefers when you suck him off in his studio then at home, because that's where he feels more tense. Everytime he feels stuck or tight strung he texts you so you can wrap your pretty little lips around him.

Lee Know

Prefers giving.

Eats you out every time you fuck and never lets you cum. Teases you constantly so when he finally slips inside you, you cum harder. 

Only lets you give him head when you're getting punished, even then he controls the pace. He's more fucking your mouth then letting you suck him off, and you can't make sounds. It's your punishment and you need to accept it.

Changbin

Prefers receiving but is very enthusiastic about giving.

Eats you out semi regularly, doesn't tease you and goes straight to the point. His goal is making you feel the utmost pleasure. Especially likes to feel you move and contract underneath his hands and mouth.

But nothing beats the feeling of your hands and mouth wrapped around him and the sight of you enjoying yourself as much as he does. Cums quickly when your mouth is on him.

Hyunjin

Prefers giving.

Loves giving. Eats pussy romantically and slowly. Licks everywhere, there is no inch of your kitty that goes untouched when he is between your legs.

Lets you give him head whenever you ask him, it doesn't matter the place. He can't ever say no to you. Gives up control, you're in charge and you can do whatever you want to him. You can tease him or go straight to the point. Likes it when you tease him tho ;).

Han

Prefers giving.

Pussy drunk all the time. Eats you out once a day at least. Wakes you up with head every morning (with consent). Has a gigantic oral fixation and loves to suck on your swollen little clit at all hours of the day. Whimpers and humps the bed when he does it.

Does no let you give him head because to him, it's way more pleasurable to eat you out and wants to solely focus on it.

Felix

Prefers receiving.

Loves to eat you out and to touch you and also has a slight oral fixation but instead of sucking on your pussy he likes to suck your nipples.

He's a pillow prince so he wants to lay down and make pretty noises for you while you suck him dry. Edge and overstimulate him, he loves it.

Seungmin 

Likes both giving and receiving.

Just like Chan thoroughly enjoys both. Has a designated time for eating you out. He does it after you finish the weekly episode of your favorite drama. When the credits roll he just kneels between your legs and goes to town on you. 

Same with receiving. Has a specific time. Likes to get sucked off after he comes back home from singing practice and he is all tired and whiny.

Jeongin

Prefers receiving.

Doesn't eat you out during sex but he always uses his fingers and he uses them pretty well. He eats you out only on special occasions but it's worth it every time. Gives you orgasm after orgasm until you are crying and shaking and then praises you.

Wants you to swallow his dick pretty regularly but you don't complain, he has a pretty cock. Lets you do your own thing but might thrust into your mouth from time to time only to apologize.

[thisisadonaldduckblognow]

rise raph also has autism swag: a post

so basically heres a quick little cap collection just of some of raph not getting social cues or reading tones etc

01. minotaur maze, calls leo out on being up to something only because of the use of the word “indubitably” (bonus: so into behavior pattern/routine that even though leo admits outright that he lied to get them to do the maze, raph just continues having half an argument like leo denied it)

02. mrs cuddles, raph is fully wholly completely unaware of the suspicious pre-prank energy his brothers and april are giving with their faces, actions, and tones of voice. like he fully 100% does not suspect a thing

03. stuck on you, raph does not pick up on the fact that his brothers are CLEARLY only saying that the teamwork ball they complained about all episode ~really did make them a better team and they wanna get back together~ to make him feel better bc he was sad it got wrecked

04. shadow of evil, does not pick up on or suspect ANYTHING about the weird-ass energy of the mutually-lying-and-hiding-something exchange they had with splinter. look at him. he is in the middle of being like “we nailed it i can’t believe he fell for that”. i love him.

05. mutant menace, raph is VERY ANGERY that people were unable to tell that the note they left with their ‘good deeds’ was using THE JUST-KIDDING QUOTES AND JUST-KIDDING WINKY FACE!!!! this whole ep could make a case for his autism swag, it’s so.... he is understanding many things in a way that makes a ton of sense to him that is largely not understood by others

06. the ancient art of ninja hide and seek, where raph spends almost the entire mission taking “stick to the shadows” as literally and face-value as turtle-ly possible and thinks he is absolutely nailing it.

07. snow day, (or lbr any other time he interacts w ghost bear) just. so so so excited about his favorite wrestler... very much having that override the fact that ghost bear is clearly not about this

08. raph’s ridealong, goes through the entire process of getting mistaken for a criminal, freaking out a whole police station, getting apprehended and thrown into the back of the wagon, without clocking any of that energy (bc he is so excited to do a cool activity related to his extreme interest in crimefighting/justice)

and like thats just the stuff i found idly browsing through caps i bet theres a ton of other examples on the social front alone, let alone stuff like stims, special interests, behavior patterns, etc.  

BONUS: 

late fee, iconic autism to autism communication

[desos-records]

The part I appreciate the most in the Lockwood and Co show is how it handles depression and suicidal thoughts in teenagers. As a theme, it’s not often (ever) done well. Lockwood and Co is the only story I can think of that depicts it in a nuanced, realistic, non-romanticized way

but first, before I get into it: [if you’re in crisis or need someone to talk to and don’t want to/can’t use your national hotline, highly recommend Samaritans, genuinely saved my life] okay, let’s go

Lockwood is the most obvious, with his general disregard for his own life and admitted suicidal ideation. Lucy struggles with her self-worth and the intensity of the emotions she’s subjected to. George worries that he doesn’t belong, that there’s something useless or wrong about him. The show depicts these thoughts and feelings in a way that isn’t overblown or dramatized, it’s all but casual. Which is how it happens. Depression or suicidal thoughts don’t crash into you all at once, they creep into your life without you noticing

But more importantly (and again, something I’ve never seen anywhere else), the show also offers counterpoints to those thoughts and feelings. It shows that there is a way out, even though you may feel trapped and hopeless. This is crucial for the show’s target demographic. Bad media depictions of depression or suicide get internalized, contribute to the stigma, and make it harder for people to ask for help. This show doesn’t do that. This show tells its audience that, yes, things are scary and painful and it fucking sucks, but it’s not hopeless. And it says it so well

In the second episode, when Lucy wants to quit, she admits something that I’m almost certain she’s never told anyone

“sometimes I just think I’d be better off dead”

And when I watched this the first time, I expected Lockwood to react the way I’ve seen people react in my own life; with silence or panic or downright dismissal. But he didn’t. He stays calm and he says something that is so so important to hear when you’re struggling under the weight of feelings like this

“I understand that”

Saying this tells someone several things: that you’re on their side, they aren’t strange or monstrous for feeling like this, and that you’re not going to attack or abandon them because of it. And you can see the impact it has on Lucy, the way her face clears. She went from struggling to breathe and near tears to calm and steady. It’s no mistake that in this moment we hear his and Lucy’s theme for the first time (those simple, beautiful guitar strings)

The next thing he says is also important

“and it’s not true”

Simple, to the point, directly addressing her feelings, and (the most common mistake) doesn’t make it about him. Telling someone that you love them or that they’d be upset to lose you might sound nice, and it can be later on in the conversation, but in a moment like this, it’s infinitely more helpful to confront the thought itself

A similar moment in the first book stuck with me too, when they’re underneath Combe Carey Hall and Lucy almost steps into the well. What she’s hearing in her head (and the general phenomenon of malaise that ghosts produce) is very similar to depressive or suicidal thoughts. Before she can fall, Lockwood pulls her back

“no, Lucy, that’s not the way it’s going to be”

Depressive and suicidal thoughts deal in absolutes, so sometimes it takes an absolute to counter it

In the last episode, George has that heart-breaking moment where he says all the awful things he thinks about himself, partly because of the influence of the boneglass and Bickerstaff, but it’s also been building up, there in the background. Increasingly, it’s Lockwood and Lucy working together and George working on his own, which picks at old wounds (engineer, engineer, engineer, weirdo). He bonds with Joplin because he feels like she understands him in a way the others don’t

“it’s nice to have someone to show off to”

But Lucy pushes back against all that because she sees herself in all the ugly things George is saying, because she’s felt that way too. She understands that. She’s so surprised and horrified to hear him saying those things, resigning himself to dying down there, she’s not going to let him go on believing them

“you’re not a third wheel or an oddball or whatever it is that you think you are”

“you’re the best of us”

“we are not losing you, Georgie”

Flo called him that earlier too, but Lucy wasn’t there for that and coming unprompted from her it sounds so much like something you might call your slightly annoying younger brother. She’s so absolute about it all, with no opening for doubt, and you can see something like surprise on George’s face (but also pain because now Lucy’s in danger too)

For all Lucy knows, the boneglass will kill her. I don’t think for a second she genuinely believes her talent will protect her; she told Joplin that to protect George. It’s unclear when exactly she came up with the plan to use the skull, but she was willing to risk it anyway. And she knows, she knows, George will blame himself for this (because she would too, if it were the other way around), but even then, she’s very clear

“this isn’t your fault”

Their whole scene down in the catacombs is two kids trying to keep each other alive, physically obviously, but on the inside as well. And, oh god, George almost crashing down next to Lucy after he’s knocked over the boneglass, trying to wake her up. His voice

“Lucy, Lucy, it’s me, it’s me, say something, speak to me”

I think it’s down in those catacombs that George and Lucy really understand each other for the first time. In their own ways, they’re both curious and suspicious about the Problem and what causes it, trying to learn more about it (and stressing Lockwood out in the process). They both left their families; they both struggle with feeling strange and different than everyone around them. That connection pulls them both back from the edge

Lockwood, for all his confidence, is practically in crisis or was fairly recently (I suspect living with George helped). It’s fairly common, actually, for someone suicidal to overcompensate with an exterior shell to hide it, which can manifest in different ways depending on the person (they may not even realize they’re doing it, I didn’t)

And I love how the show handles it. He’s not made into this dark, tragic figure. He’s so full of life it hurts. He jokes around with George and Flo, fights with Kipps, admires Fairfax. He has dreams (plans) for the future. He’s struggling with trauma, they all are, but he’s not Broken™ in the way similar leading characters are often made out to be, in the way we often fear we are

And, of course, there’s Lucy, a wreaking ball through the precarious balance of Lockwood’s life. It’s not so much that she gives him a reason to live (although she definitely helps), but she holds him accountable in a way no one else does. This is the difficult part of recovery that no one talks about. Having people care for you (George) and sympathize with you (Flo) is great and necessary, especially early on. But at some point, you have to take responsibility for yourself and the noise in your head (you have to open your door on the landing)

What that looks like is complicated and messy and different for every person, but seeing it played out in a story is remarkable. I’ve never seen anything like it. This is a difficult thing for anyone to learn (many adults never even try)

That shot of George, Lucy, Lockwood (and Kipps) rising up on the catafalque sums it all up for me. Each of them fell into darkness alone and rose out of it together. They inspired each other to fight and win their individual battles, even when they couldn’t be there to help

[enden-agolor]

i fucking LOVE the way you draw/write jesse, as someone with a chubby/buff build i kind of struggle with insecurities about my size but the way you draw him makes me feel very good. idk im describing it badly but i wanted to ask if your design for him is more chubby or muscly?

Dude thank you 🥺🩵 You described it very well.

It really depends on which time frame I'm drawing Jesse in actually.

In the beginning, I imagine Jesse is quite scrawny. I mean did you see his work out routine in the beginning? He was was doing sit ups and punching flowers. He was definitely lacking muscle (but had enough to be able to lift Reuben up and down that ladder) and as the first couple episodes progress, he stays scrawny but progressively becomes more scarred up until the Portal Hallway episodes.

The Portal Hallway episodes, it takes place many months after the events of the Witherstorm. Jesse and his friends are going on many more adventures, really honing their skills that they acquired over the past few months. Jesse is much more built now. He's buff and tough with the true heart of a hero. Although, once he and his friends get stuck in the Portal Hall, that's when things take a really devastating turn for him. Feeling hopeless and lost for weeks on end, he begins to feel withdrawn from the positivity he was feeling before he ended up stuck here. Traumatic events keep occuring, and with these events, Jesse is of course drawn to remember and replay the events of Reuben's death in his head. He keeps the most of these feelings to himself because his group is already feeling so disheartened about their current situation that the last thing he'd want for them is to know that he's breaking emotionally, so he ends up taking less care of himself. He starts eating with the idea that he has to stay strong for his friends, but even those moments are rare. Food is scarce depending on what portal they are in, so when he finds food, he'll take anything that will keep his energy and strengths up.

By the end of it all, he's actually put on a significant amount of muscle. But it's kind of like a 'at what cost?' scenario.

Things get a bit better for him between then and Season 2 where he's eating better again and keeping all that muscle, but once Season 2 comes and goes, and with everything that happens in the Sunshine Institute and the Underneath, he loses a lot of weight.

It's only after Season 2, where he stays in BeaconTown and eventually finds a love life with Lukas when he really begins putting on weight once again. He's done with hero work. He's done with going on crazy life threatening adventures. Now he just wants to live life for himself rather than putting others first. Lukas helps him a lot through this, with body positivity and lots of love and affectionate touch, it's all the reassurance Jesse has ever needed to feel okay with being himself again. So he ends up putting on that happy weight that couples typically adopt over time when they're in a healthy relationship. Lukas treats him so, so unbelievably well. Finally Jesse gets to eat food for himself without the idea of needing to keep himself strong and powerful once he's finally retired. He indulges himself in his sweet tooth and loves to eat cookies, cakes, and other baked goods that Lukas will bake or bring home. He also really enjoys the fact that he doesn't have to eat alone anymore. He loves sitting at the table and enjoying a meal with his hubby. And the best part, which is something Jesse was horribly self conscious about, is that Lukas loves and adores his pudge. He is so supportive of Jesse's eating habits, but he doesn't hesitate to sneak veggies and fruits into Jesse's lunch box for work.

So yeah uh Jesse is chubby, buff and loved at the end of it all 😍

Here's some lil doodles of him I have lying around. The first one is pretty old and could probably use a touch up since now I don't see much of a difference, but you get the point ☠️

[bloodstained-ballgowns]

i just rewatched ‘the woman who fell to earth’ a couple of days ago for the first time since it aired back in 2018 and the more i think about it, the more i like it.

thirteen is the only doctor for whom i feel a tangible, rose-tinted nostalgia. she wasn’t my first doctor, but she was the first doctor i watched live, the first doctor that i spent an actual extended period of time with over the episode rollout. her intro episode has middling parts (as can be expected with most episodes of Who) but there’s also so much good that i really want to highlight.

first of all, there are some really great character dynamics set up here. much more interesting than i remember, tbh. ryan is a guy who loves mechanics but is stuck in a warehouse job he hates, a guy who obviously wants to connect to people, a guy who by the end of the episode has lost both his mother and grandmother in the space of a couple of years and the step-grandfather he didn’t really want is all he has left (minus his absent father). that’s interesting.

yaz has a keen sense of justice and this raw, intense yearning to help people, to do something worthwhile, something more - the way she has chosen to express that is through law enforcement, but it’s not quite giving her the satisfaction she wants. that’s interesting.

graham’s experience with cancer means that he constantly feels like he’s living on borrowed time. meeting grace gave him purpose, gave him family, gave him the will to fight when he fought it was all but over, but now grace is gone. he and ryan aren’t related, but they’re family, and now they’ve got to figure out how to care for each other without the very lynchpin that brought them together. once again with feeling: interesting!

“i’m just a traveller. sometimes i see things that need fixing. i do what i can.” i like that they circle back to the ‘just some guy’ portrayal of the doctor here, both because it’s the one i’m partial to and because it feeds particularly well into the whole ‘the doctor is an unreliable narrator’ aspect, especially in the wake of the increased deification in the moffat era. it's a nice set up, even if it gets completely overhauled circa series 12/13. in fact, having thirteen keep this as a persistent attitude throughout the Timeless Child of it all could have been really effective re: her reticence with her companions and refusal to address or deal with her past.

the scene where thirteen builds her sonic screwdriver might be one of my favourite sequences in nuwho. i love that it’s a hybrid of alien tech and sheffield steel. i also love that they highlight the ‘mad inventor’ side of the doctor here (her teleportation circuit is based around a microwave?) and wish that they had carried it forward more. it would have been the perfect basis for her to bond with ryan over. jodie also pulls off the humour of the episode well, considering the significant shift from moffat dialogue.

i enjoy thirteen's outfit: the vibrancy of it as mirroring her childish excitability, but also as another part of the mask - if i dress all colourful then maybe i can ignore/outrun/masquerade my great capacity for darkness! etc etc. the shopping trip with yaz and ryan is a bit shoe-horned in at the end but it's cute that she finds it in a charity shop. (back in 2018 i bought a t-shirt with a couple of stripes across the chest solely because it remotely resembled the one she wore lol. nerd from a young age, me.) jodie also looks soo hot in capaldi's outfit though so a spin on the traditional suit would also have been appreciated.

some miscellaneous points: i like that she tells Karl off (“you had no right to do that”) right after saving him. i like that she gets it wrong at first and makes it clear that she’s working on the fly. she’s following her instinct, and that instinct is to help people. doctor who has been beautiful before but the cinematography takes such a huge step this era. “it’s been a long time since i bought women’s clothes” i am choosing to believe this is about river thank you and good night.

[shaylogic]

Messy Masterpost: I don't have the words so here's a mess of links and ideas

@captainfantasticalright's Dead Boy Detectives: a breakdown of Dante's hell. This post is a masterpiece of understanding how the Hell/afterlife dynamics work in Sandman Universe and DBDA, and it's sent my mind buzzing like crazy

My post about Simon's book

Not just any book

Theory about Simon's brother/father? Being a part of Burgess' Cult ("Order of Ancient Mysteries")

Thank you @niko-sasaki-dbd

Ba'al ==> Sa'al

Seems like Simon may have gotten a demon-summoning book that worked from his brother who may have been involved on Burgess' cult from Sandman. He died with book in hand, and that's the one he's tearing apart on repeat in Hell. Tumblr user listed above identified what the book might be, based off the image.

This interview at 12:52 George Rexstrew answering that Edwin's favorite thing about Charles is his unconditional love and acceptance of him.

Post about Charles bearing his soul to the Night Nurse like Orpheus played music to Cerberus

Interviewer talking about "straight friend" Charles "rejecting" gay Edwin, only for George, Jayden, Beth, and Steve to stiffen up slightly. Asking about how Charles didn't have a gay panic reaction to Edwin's confession. This interviewer is actually gay and interviewed on a gay network later, which threw me after this question.

=>If Charles had really gay panic rejected Edwin, it really would have ended like Eurydice, thrust back to the pit of Hell to wallow in the internalized homophobia, rather than being released with the support and healthy love of Charles.

Actors have reiterated multiple times that the case is not closed on Edwin and Charles' romance, they're just getting started and figuring it out in the midst of all the chaos.

People are stuck in Hell because they believe they belong there but Edwin gets out the second time because Charles KNOWS he doesn't belong there! And reminds Edwin of this when he's getting pulled under in it all

Charles went back to his red polo after the confession and escaping Hell with @nerdytacollama's excellent addition on episode 7 specifically!!

Edwin's whole arc was about accepting loving and being loved and his attraction to men, and his love of his best friend, specifically

Steve Yockey saying the confession NEEDED to happen on the stairs out of Hell. One reason being that Edwin may have been too afraid to go through with it after, another being that he could get dragged away forever at any second and it could be his last chance.

[above article pic quote from this]

But also based on the Hell worldbuilding of the Sandman Universe where people only go to hell if they believe in it and believe they deserve to be there > Edwin believing his want for intimacy at all letalone with other men being "such a sinful life" (Night Nurse paperwork) > the upward climb of healthy love from the Dante's Inferno Post > Edwin HAD to confess on the stairs and be accepted! It freed him of Hell~!

Simon moved on from Hell with Edwin's mutual sorrow for the two of them and somewhat understanding/forgiveness? Maybe self-acceptance from the gay guilt

Edwin's form saying he would serve in Hell for living such a sinful life and then be reassigned to a more pleasant state (Hell not an eternal afterlife, just time served and then moving one)

[image posted in @reviewcreature's post with @melefim's addition]

If Edwin went back now, loved and accepted by his friends and himself, would he pass on to the better place?

My post wondering about reincarnation in the Sandman Universe, which others weighed in on in the comments about how it's indeed canon

The parallels of the Lust room in hell being a butcher shop with bloody hanging bodies to reflect the debauchery of bloody writhing lust bodies ===> compare to "Girls' Night" when Jenny was running and hiding from stalker Maxine in her butcher shop behind meat ===> compare Edwin's arc of accepting "sodomite sin" of being attracted to men (challenge to the epitome and catalyst (ha) by the Cat King) and him having been through the Lust room of hell before and him STARING AT THE RED BULL ON THE BUTCHER SHOP WALL (as compared to directly in the first linked post)

The purity of Charles and Edwin's love compared to that and the stereotypes of how male love is depicted in media, as George, Steve, and Jayden have spoken out against gently in multiple interviews

How it's partially childlike, partially deep friendship where two men can hug and cry, partially a crush, partially potentially reciprocally romantic

The juxtaposition of Edwin's archetypical confession to Charles on the stairs of Hell on the way out of the Limbo of it, with Maxine guilty and desperate just below them, not even looking toward the open door

Fans wondering why it was so easy to get out of Hell. The worldbuilding canon saying that Hell is what you make of it (Charles says this in the original Season of Mists Ch 4 comic, Edwin says it in episode 7 to Simon). People in Hell stuck because they feel they deserve it.

@podcastenthusiast's post about being glad Edwin didn't see Simon move on, because then he'd really wonder we he himself suffered so long

==>CHARLES got Edwin out because he KNEW he didn't belong there!!!!

They push and pull each other by the arms the whole way to the top!!!!!!!

Magical weight in the snake pit "nothing's meant to leave this place"

Charles literally dragging Edwin out of Hell for the love and devotion to him!!!!!!!!!!!!

Allegory of dragging him out of his self-rejection and holding him by the face saying over and over "I love you. I accept you. I'm not leaving without you."

Openly gay producer/director Steve Yockey insisting on being the one to write Episode 7 and you can feel it in every color on the screen.

There's no higher power deciding this, despite the paperwork and minders ensuring everyone is sorted. It's an internal self-decided fate, unconscious.

I'm not gonna be able to link and list every pic and organize this in the state I'm in but--

ARE YOU SEEING ALL THE THINGS I'M SEEING?

Girl help I'm getting visions!!!!!!!!!!!!

[overnighttosunflowers]

I've been thinking a lot about that interaction between Laudna and Orym in episode 102. How it starts with Orym saying "I'm so sorry that the world is moving so fast that we couldn't take the time to help you."

There's a certainty to that framing that is very typical of Orym. Not "I'm sorry the world is moving so fast that we didn't take the time to help you." They couldn't take the time. The mission comes first, second, and third until they've seen it through. 

Now, it's hardly a revolutionary observation that Orym's worldview comes from a particular combination of military training, survivor's guilt, and calcified grief that is ultimately self-destructive. It's also not a revolutionary observation that the party has not quite realized this, or not in so many words. They tend to treat his perspective as the only one unshakeable by personal failing. Later in that conversation in 102, Laudna even tells Orym that if someone needed to "finish the job, put me down," she'd wanted it to be him, because she knows he has the ability to do what's right.

His friends think of him as the only one who isn't a powder keg waiting to go off, but it has gone off, with Orym secretly and self-destructively pledging himself to Nana Morri in order to keep his friends alive. Betraying his friends' trust in favor of the mission. And in the end it didn't accomplish anything.

I think of Orym as someone who holds multiple truths at once. First and foremost there's a soldier's truth, the grim relentlessness that's all that keeps him going sometimes. But we've seen Orym be soft, too. He's gentle. He loves his friends. It's there underneath the grim layers of suppression. We saw it more early campaign. I don't think that he was lying in 49 when he told Imogen that he wasn't worried about her just hours after conspiring with Fearne to take her out if necessary. I think he wanted so, so badly to discount that soldier POV and buy all the way into trusting Imogen. But he couldn't. And I don't know if he was able to reconcile that. I think he genuinely believed both. Liam has said that before the events of this campaign reactivated Orym's trauma, he was legitimately on a path to healing his grief. I think that a healthier Orym would have been able to set down the soldier's truth to simply trust Imogen.

But that's not where the campaign took us. At the Malleus Key in episode 51, Orym collected a locket from a dead Vanguard soldier to remind himself that the enemy are still human. And then after Bor'dor died, in episode 63, he dropped it. Locking in on that soldier's truth. Making that deal with Morri. Not letting his friends stop and rest when they need it badly. Pressuring Imogen to give in to Predathos on the moon so that they could learn more.  

There's a grim run of episodes where Orym is stuck like that, prioritizing his soldier's truth and suppressing the part of him that is his heart. Now, I'm not someone who needs to always feel warmly towards a character or agree with their choices to appreciate their depth and role in the story, and I respect what Liam was doing there. The willingness of the CR cast to have their characters make messy and unpopular choices is one of the things I appreciate most about the show, and one of the things that leads us to the richest and most meaningful moments of character arc resolution. 

But that's where I've been frustrated with Orym: by and large, resolution has not been coming. He's been driving deeper and deeper into his traumatized worldview, clinging to it and stubbornly refusing to hear challenges to it. Repeatedly shutting down arguments by mentioning his dead family. I get it, and I feel for him, and I don't know how else Liam could be playing it given the story that Orym is in and the character that he is—not least a soldier whose training tells him never to question the mission. But, god, I'm ready for the growth. Ready for the story to prod Orym in directions that change. Ideally a shift towards a healthier perspective, but even hitting such a low that the Hells can't help but recognize that Orym's rigid morality is as destructive as it is sustaining. That will make them push back on him.

Because telling Orym he's the good one reinforces his worst instincts, increases the pressure he puts on himself, makes him double down. What he needs is someone to push back. He needs that increasingly brittle sense of his own lens as morally superior and righteous to shatter. 

And I am so, so excited for it to happen—because we're starting to see it starting to crack, just a little. In episode 92, he acknowledged to Imogen that his lens is a lens and not simple objective truth, and even implied it's one he wishes he knew how to set down: 

And now, when Laudna tells him he knows best of all how to do what's right, he admits it again: not a lot of his choices have panned out.

And it's true. They haven't. And I hope he keeps on saying it.

I'm glad to have Dorian back and on a revenge quest against the gods, because Orym trusts Dorian and Dorian is not going to let him sit unchallenged in his own convictions the way the rest of the Hells have been. I'm excited to see more of Braius, who not only disagrees with Orym about the Primes, but also doesn't have the same vested interest as the rest of the party in seeing Orym as good. I hope they both push back on him. I hope it unsettles him and confuses him and breaks his worldview and soldier identity enough that when the pieces come back together, instead of scarring over a second time, they can simply finally heal.

[delayed-affection]

if u feel comfortable writing about it could you maybe write and imagine about joe burrow and him being their for his girlfriend whiles she’s struggling with a depressive episode thank u in advance 🤍

Help

Oneshots Navigation

Joe Burrow x reader

Warnings: depression

Word count: 1.1k

It comes in waves, one day you’re fine and happy but the next you want nothing more than to just be gone.

You’ve done everything that they’ve said to do; you’ve gone to therapy, taken the pills they’ve prescribed you, tried to get back into the things you’ve loved before but nothing has worked.

You’ve managed to live life without breaking down in front of everyone, in front of Joe.

He knows about your struggles with your mental health but there’s only so much that he can do for something he can’t control and knows so little about.

He’s seen the days where you struggle to get up and do the simple things in life and it kills him to see you like that. He just doesn’t know what to do when it gets like that.

And today was one of those days, you managed to pull yourself out of bed and to work but it was the hardest thing to do.

All you wanted to do was go home and rot away, hoping that tomorrow will be better, that you won’t have to bully and force yourself out of bed.

But it wasn’t, it was worse.

You woke up today feeling like absolute shit. A wave of fatigue and exhaustion hit upon waking, washing over you like a cold and heavy blanket as your eyes open.

The mere thought of getting out of bed is almost too much to bare right now, every muscle in your body feeling like a lead weight.

There's no motivation here, just a deep-rooted desire to fall back asleep and go back to the peace and comfort of dreams.

You wrap yourself up in the blanket lying in bed, the room is pitch black with the only light coming from your phone that lights up every once in a while with a notification.

You haven’t gotten up since you opened your eyes, however they weren’t open for long. You force yourself back to sleep, wanting nothing more than to be in an unconscious state.

You wake up a couple hours later and feel way worse.

You felt completely lethargic and mentally wiped, and you couldn't think of anything that could stir them out of this state.

Feeling like a zombie, just going through the motions and barely functioning at a most basic level. You felt like you were just existing, not truly living. Everything seemed pointless, and you couldn't find the energy or desire to do anything at all.

You begrudgingly sit up, trying to fight off the feeling that's been weighing you down. You don't have the energy to do much else but try to cope with your feelings.

You sit there on your bed, feeling overwhelmed by the sense of hopelessness that has consumed you. It feels like nothing will change and you’re just waiting around for things to magically get better.

You find yourself spiraling deeper and deeper into a dark hole of despair and there seems to be no way out.

You lie back down with a huff, feeling completely defeated. Wishing it would just go away and you could finally be happy.

But it doesn't look like that's going to happen any time soon. Closing your eyes and you try to block out the world, hoping that maybe things will be different.

You know deep down that nothing will change. You are stuck in this state and have no idea how to escape it. You just feel hopeless and resigned to your fate.

You can hear the front door open and close, Joe is home. Laying there silently, you listen to the sound of his footsteps coming closer to the room.

You feel anxious and nervous, unsure of how you should act when he walks in. Should you just keep pretending like you’re asleep, but you also know that you need to face him.

You’re afraid that he'll be angry or disappointed with your lack of motivation to do anything.

The bedroom door opens, and Joe walks in cautiously. He can tell by your breath and movement that you’re awake, but he decides to act as if he doesn't know that and gently sits down next to you on the bed.

He doesn't say anything at first, just gives you a comforting pat on the shoulder letting you know that he's here. He knows that it can be difficult to communicate when you’re in this state, but he wants to let you know that he cares and supports you.

You feel your heart melt a bit at his gesture and you can't help but lean into him slightly, seeking comfort from his closeness. Feeling slightly embarrassed and guilty for not having the energy to do much lately.

You can’t help but feel like you’re letting him down by not being more productive or active. You’re glad he's understanding and patient, but you feel like you’re being a burden on him and that you should try harder.

Hearing you start to cry, he immediately holds you close. He lets you cry without trying to stop the tears or make you feel bad about them. He just holds you gently, letting you let it all out and offering a strong and secure presence.

He reassures you that it's okay to cry, and he just wants you to feel better. He's there for you and he's not going anywhere, no matter how bad things get.

He wants you to know that you’re not alone, and he's there to support and love you no matter what.

He continues to hold you until the crying subsides, feeling you calming down as he does so. Once your tears have stopped, he pulls you close again and strokes your hair lovingly.

He wants to make you feel better, and he knows that sometimes you just need physical reassurance and comfort to feel more at ease. He just wants to be there for you and make you feel like everything will be okay.

You begin to relax in his arms and feel a bit better.

"Everything's going to be okay, baby, I'm here for you." He whispers placing a kiss on the top of your head.

You sigh as you lean into him, letting your mind go blank.

He continues to whisper to you, "I love you and I'll always be by your side, no matter what."

He keeps whispering these words of encouragement and love, and you can feel your spirits starting to lift.

It feels good to have his comforting presence so close to you, and you feel supported and reassured by his kindness. He continues to hold you close as you breathes out a deep breath and relax.

You feel safe and supported by his love, and your stress and anxiety slowly begins to fade away.

You start to feel better, way better than you did before, and you’re grateful that you has someone so understanding and supportive like him.

[echobx]

Rafe x reader request:

In episode "Parcel 9," the group plans to cut off a house's power, but they accidentally alert the elderly resident, who defends her home with gunfire. Reader gets injured, and despite objections, they're forced to leave her behind. Later, Rafe overhears their conversation, outraged by their abandonment. Determined to make things right, he enlists Barry to rescue Reader. Rafe finds Reader injured but alive, becoming her unexpected hero, and they bond through the ordeal.

Sorry it’s so long Xx

The Cellar - Rafe Cameron × fem!reader

summary: see ask

warnings: mention of reader's leg being injured, other than that none

word count: 1k

author's note: idk why it took me so long to finish this 😭 and now the formatting is (imo) bad bc I don't have my laptop here with me but I wanted to post this anyway. it's roughly edited but not much.

“We don't have a choice,” John B yells and pulls Sarah with him, leaving you stuck under the wooden pillar.

“Sarah!” you cry out but her boyfriend has already pulled her away, out of the cellar and away from you.

You do your best to contain your sobs and cries of pain, not wanting to alert the old lady again. Time passes slowly and you feel yourself growing weaker.

Unbeknownst to you Rafe has his ears perked, listening to John B promise Sarah to go back later that night to get you, but he doesn't sound convincing. Rafe quickly pulls out his phone and texts Barry to meet him at the Crain house.

When they get there it's already getting darker, and they have to use their flashlights to see around the garden and find their way into the cellar.

“John B? JJ?” you whisper as you hear someone enter the cellar, but the voice that answers is not one you are familiar with.

“You really think those two are gonna come back to get you?” Barry laughs quietly before you can see him.

“How'd this happen?” Rafe asks, reaching over to brush over your cheek, removing your tears.

“The old witch shot at us and then this thing fell on my leg and-” You stop before you start crying again and Rafe nods.

“Gonna get you out of here, love,” he promises and turns to Barry. They lift the pillar and you manage to scoot out from under it.

Rafe picks you up and carries you out and towards his car. He saved your life and you don't even know how he knew where to find you. But most of all you wonder why he cares enough to do it.

The ride is quiet, apart from his rather aggressive taps against the steering wheel, or the fact that he's 10 mph over the speed limit.

“Why did you come and get me?” you ask quietly after he puts you down on the couch in his home.

“Because you deserve better to be left alone and all,” Rafe runs his hand over the back of his neck. You have never seen him nervous. As a matter of fact, you have never seen much of him at all, especially not on your own. But now that he's standing in front of you, you get a clear look at him; furrowed brows, lips pressed to a thin line, his hair hanging into his face.

“The doctor will be here in a bit to check on you,” Rafe pulls your attention back to the present.

“Oh, I'm fine, really,” you lie and try to get up, but he catches you just as your legs start to give out from under you.

“I can see that,” he huffs and puts you back down on the sofa.

The doctor comes and leaves rather quickly, only prescribing bed rest and a special ointment for the bruises on your leg, as well as pain medication.

“Maybe I should get you cleaned up before we start the bed rest part of this,” Rafe mumbles and picks you up to go upstairs without you being allowed to say anything about it. It's like he has taken over and you're unsure if you really want to complain about it, about giving parts of your freedom away to him.

He helps you undress with his eyes closed. It's a funny game because he really doesn't want to cross a boundary with you, but he also can't see which makes you giggle when he accidentally grabs your boob instead of your arm and then he jumps back and nearly falls over all by himself.

“I didn't mean to do that,” he apologizes but you keep laughing.

“It's okay.”

His eyes are still closed when he helps you in the bathtub, only opening them after you have confirmed that your bubble bath is covering you completely.

“You can open your eyes again,” you giggle, and he peeks one eye open before looking at you fully. “Didn't think you'd be so weird about potentially seeing some boobs.”

“I'm trying this new thing called, being respectful. Apparently, girls are into that kinda shit,” Rafe says and flashes his eyebrows at you while pulling a small stool over to sit down next to the tub.

“Is it?” you ask and he nods, gnawing at his bottom lip.

“No way!” you fake a gasp and he smiles.

“Yeah, you would be surprised how well it's working.”

“Can I be honest with you?” you ask and he nods. “I always thought you were worse. I mean, you're not the best, still-”

“Not my fault you hang out with assholes,” he shrugs and you roll your eyes.

“I hang out with Sarah, and Sarah has friends who are not always as bad as you think. I know JJ would've come back to get me,” you argue.

“Did he, though?” Rafe remarks snidely.

“Eventually they would’ve.” You are sure of it, your friends had never left you behind before, surely it had been a mistake.

“I can bring you back there if you're so sure,” Rafe suggests and you shudder.

“No, thank you. The old witch had a fucking rifle.”

“See,” Rafe chuckles softly and you can't help but gaze at him, at how pretty he looks.

You keep talking, getting to know him better, really. You learn that he, just like you, doesn't have the best relationship with his dad, always trying to get approval from the parent. And you learn that he likes bikes, and only golfs to annoy the old fuckers on the course.

And after you're done bathing he gives you some clothes he found in Sarah's room and you lie down on his bed, eating pizza and watching a movie.

“It's the best because they are both doing the same thing and in the end, all their efforts go out of the window because they realize they belong together,” you sigh happily as the movie starts playing. Rafe pulls you into his side, and you let him. And although he's not a fan of rom-coms, he sits with you, more focused on your reactions to the film than the actual screen.

And while he's watching you, he can't help but thank your dumb Pogue friends for leaving you behind and giving him a chance to win you over.

part 2

please don't copy and/or post my work onto other platforms! ~e©ho

taglist: @ijustwantttoread @spideysimpossiblegirl @redhead1180 @princessmaybank @kys4-20 @drwstarkeyy @immyowndefender @julczimozart @notdxbya

[nenoname]

Gravity Falls DVD Commentary Highlights

(just a huge, and I mean huge, dump of random quotes that stuck out to me, which I sorta separated into characters+their relationships and it's probably gonna be obvious that Stan is my fave lmao

I dunno how to make this legible for anyone but whatever, just take all these rando character tidbits. Stan Twin pranks! Sonployee essays! The concept for a post-Weirdmageddon episode that Alex insists is just too miserable but I want it anyway! The Pines family making me cry!)

Stan

"We love the idea of Stan [in Boss Mabel] having a minute to uh, having a context where we want to see him be his worst self and seeing his big brash personality in like a setting that everyone can understand, because the Mystery Shack is a little bit ungrounded because he's in his world of his characters, but seeing him out in the outside world is funny weird."

We really enjoyed the fact that he's as awful as ever and he's rewarded for it. We like those anti-morals where Stan uses his terribleness to succeed incredibly well.

I think it was a little hard for people to understand in the writer's room at the beginning of the series was that, even though Stan is following a lot of these tropes of being a miser, he's not grumpy. Like he actually loves being himself. He really revels in it like even though he's got some kind of sorrow inside, his kind of day-to-day like he's more about just the uncle who loves to hear himself and make dumb jokes than he is somebody who's mean or cruel or cynical per se.

The [NWHS] storyboards managed to make Stan this awesome action hero while still keeping him Stan. Like I like the fact that he steals a wallet in the middle of it. He steals a wallet, he smashes somebody against the wall, he sasses him but he also has this just great Inception moment. And it's because we're building to a big question about “who is Stan?”, I felt a moment of seeing him be kind of awesome further increases your “who is this guy?” He keeps going back and forth between like “oh geez my back” and you're like “all right that's the Stan I know” and then like “whoa, he just did an awesome jailbreak! Is he some kind of super villain? Who is he really?

There's more of Ford in Stan than I think Stan realizes that I think only comes out in certain moments.”

Why did Stan keep a clipping of himself titled “grifter at large”? I think he thought he looked cool in that picture. “You know I kind of have a Clint Eastwood look in this grifter at large photo. I think maybe I'll use this as an About the Author one day. I gotta hold on to this one. You know what, I'm a criminal but I'm a nostalgic criminal! Loving the past is my greatest crime now!”

I know how Stan feels in this [Principal talking to his family] scene, when somebody comes in and says like “You know what? There was a race you didn't know you were running and you're already behind, way behind.” 

And you know even though Stan is a guy who looks like he's having a fun time, I always, in my gut, thought of him as somebody who is a huge well of sadness, a loss of human connection. And that need to please, that trying to get laughs from the crowd and constantly telling dumb jokes and you know putting on a big show in the Mystery Shack, he's trying to get from them the affection that he never got from his family and lost with his brother.

Stan has been waiting for years to have a reunion with his brother. He's always felt like a screw-up. Stan once again had an idea of how he thought things were going to go. He thought that his brother was saying “I need your help” for the first time. He's going to go up there, they're gonna have some drinks, they're gonna catch up and instead he ended up shoving his brother into another dimension and running out of food and money. It's sort of his worst nightmare. But this was Stan's entire character, from the very beginning of the series, was built around this idea that he's living with this tragedy. He's a guy who outwardly seems like he doesn't appreciate family but in fact wants it more than anything in the world and feels like maybe he's not worthy of it and would do anything to prove that he is.

Seeing Stan figure out what he's good at felt important to me. Like he's never been good at anything in his life and he makes a stupid hokey joke and it suddenly turns into a profit. I felt like without [showing how the Mystery Shack was created], I was missing something and understanding why he would do this, how this would be the solution to his problem.

We would like the idea that Stan appears to win through dumb luck, that it's sort of Intelligence versus Guts but Stan wouldn't actually bet everyone's life on a dice roll. He's a cheater! At the end of the day, I believe Stan has been thrown out of Vegas for counting cards and for weighing dies and I believe he could con his way out of any game, particularly for an obnoxious wizard like this. The idea that Stan would gamble everyone on pure chance is like no. No, he's got a plan. This is the guy who escaped prison using gravity leaps, he's got a way out.

The one big thing [The Stanchurian Candidate] does is really highlights Stan's inferiority complex compared to his brother. Part of what he's doing is he's trying to be an important man here and this episode is actually a pretty good setup in many ways for Weirdmageddon Part 3. When we see Ford they're all going on this rescue mission to rescue Ford and this episode shows you just how much Stan wants to be the hero like the reason that he can't shake Ford's hand when they're in that circle.  The cold open of this where he sees everyone loves Ford and now that Ford's back, he's the best. Stan's like “well, how about I run for mayor!” It's just to boost his ego and make him feel better about himself.

Dipper and Mabel

“Straight man protagonists are really hard to write because every other character had a comedic hook. We understand that Soos is kind of this weirdo, his brain is in another place. Mabel has this exuberance and sees the best in every situation and is very creative. Stan is a crooked conman. Dipper is… the normal guy and a character like that can often feel like they don’t have agency, start to feel just reactive.

Waddles is Mabel's only love that lasts the summer. Mabel is very prone to love at first sight and Waddles is able to love back with Mabel's degree of love.

[In Sock Opera] Mabel's in love with Gabe, Dipper's in love with the Author and they're both willing to do something crazy to get get closer to that thing

There kept being layers of adjustment to make it, “okay what would it take to get Dipper to make a deal with Bill?”  1: He would have to not understand the rules of the deal. He's been tricked, he thinks he's just giving a puppet, he didn't know was himself. Classic genie rules, you get what you wish for in a way you didn't expect.  2: There's a little ticking clock that just started, which if he doesn't do it by now, he's gonna lose all this.  3: Bill rightfully points out that Mabel has been kind of not sacrificing for him and he maybe needs another ally right now  4: He was sleep deprived and actually you'll notice that Dipper blinks right before Bill arrives and that's our way of suggesting that that countdown might not have even existed

I think Dipper and Mabel are of equal exact intelligence but Dipper's insecure. He sees his accomplishments as a way to make himself better and thus is motivated to focus on things that are accomplishment type things. And Mabel is very confident and likes having fun and when she's having a good time, she has a little tunnel vision for the people and the things around her. That's one of her biggest flaws. She's actually really, really sweet when she notices and understands your pain but not when she's doing a bit, when she's doing a scene, when she's doing a gag.

Ford

Originally [the fake Author] looked a little bit more like an oddball wacky inventor and I felt he had to be pretty idiosyncratic. There's certain color things about him you'll notice. He's more or less got the color scheme of the Journal, you know maroons and golds, so that you kind of feel instinctively like maybe that's him. A lot of these motifs though we would end up using in Ford's design, as well the gloves and the coat and all that but much cooler later on but preparing you, it's Ford Lite. 

Now this is there's no logical reason that Ford would break [the warnings about the portal] up into all these books this way but up until this point he's been shown as this sort of all-knowing mysterious Puzzle Master that it felt appropriate, even though it's not logical.

It works for the storytelling so when Ford wrote that, that's when he was super sleep deprived. He realized that Bill had betrayed him, he was starting to have a hard time differentiating between fantasy and reality, he was losing sleep and scribbling all sorts of lunatic serial killer looking stuff about the end of the world.

In Time Traveler’s Pig, we see what should be a young Stanford Pines even though again, the design's a little off but we knew big sideburns, bushy hair. Although that Stanford looked a little bit more swole than this guy and that's one of the what we thought were very subtle clues in season one that helped a lot of fans figure figure everything out way too soon.

[Using the memory gun on the agents scene] needs to show that Ford's really awesome and so we could get rid of the agents and show that Ford can pretty much handle anything that Stan can't and also call back to our memory ray all in one.

There was a lot of fan speculation when we first met Ford. Generally when television shows introduce a new mysterious character late in the game, they turn out to be a villain like 9 out of 10 times. They turn out to be a villain or they're there to get killed off to show the stakes of something and like we could have made Ford evil but I always felt that that would be less interesting. The point that I was trying to get to is that Stan and Ford had this relationship that fell apart and it was both of their faults and I thought that if I'm Stan, I'd be more frustrated if Ford is actually a good guy. It would drive me insane if he's pretty reasonable, pretty rational, better at me than everything.

So we've flirted with this brief moment where it seems like he's a villain and we worked really hard to make it so that like his eyes are being covered by the reflection of the light. His dialogue is ambiguous enough here that for a moment you believe what Dipper believes, which is “maybe he's possessed by Bill.” You just saw him shaking Bill's hand, what is he supposed to believe?

I like that Ford has this photo with him, he had for a really really long time all the way through multiple dimensions. And he's probably told himself- I almost imagined if McGucket found that photo in his coat while they were working on the portal or something, like “What's this here?” and Ford would say “oh yes, that's a photo of a very important moment! That's when I…  that's when I first decided I want to be an inventor!” There would be no reference to the real reason he's keeping it. “This is me and my brother.” It would be like, “oh yes I was thinking about science as a horizon, a frontier to reach towards– you know like a boat, like a ship, like science! It's about science!”

Soos

You choose family. That you create over the course of your life and if that somebody earns being your family, like the Mystery Shack. These kids and Stan, they’re Soos' family and he's happy about that.

I feel like Soos gained something out of [Blendin’s Game]. He gains the knowledge that like “I'm tired of thinking about this man who I'm missing, who doesn't care about me. I'm going to concentrate on the people in front of me, the people that are my true family.”

Soos is a fan of the show even though he's in it. He's a big fan of Gravity Falls and [NWHS] killed him.

I always knew what I wanted Soos’ end to be Soos running the Mystery Shack. I imagine that Soos is actually way better at giving tours than Stan is because he loves all that stuff truly and he believes it. That's part of the difference. Stan’s like “um, all right suckers, this stagnant puddle is the befuddle puddle!” while Soos is like “yeah, one time I looked in there, I think i saw like a cyclops dude. Like, I really think I saw one! Like it might have been a reflection combining my pupils, but like?” and people are like “Whoa, really??”

McGucket

They hired a bunch of people and then they erased their memory. That’s my explanation for why there's like such amazing inventions that would take whole teams of people. McGucket secretly hired a number of contractors and erased their minds. Like I think of McGucket as being like a really sweet nice guy completely in over his head who just like “oh well, once I've erased one guy's mind, I gotta erase ten more guys’ minds to cover it up” and it just sort of builds into like “I guess I'm kind of this kingpin of crime and I'm starting a cult I didn't mean to. Whoopsy daisy!”

When we get to Ford and see their backstory and see their relationship, it just makes all the stuff that happens with the portal and what happens with Ford and all that more poignant that he had someone there who was not only his friend but also a voice of reason and telling him to stop and that he wouldn't listen to him, as opposed to Ford being down there on his own with nobody to bounce off, anybody to say “hey wait a minute, is this a good idea?”

“McGucket was the assistant and he was maybe this assistant who was sort of put upon and Ford kind of brought a college buddy together with him. You know Ford as somebody who lost Stan, and even though he rejected his brother, he kind of needs that other person and he tried to find that in this kind of sweet prodigy and he just pushed him too far.

[The test scene] is meant to show sort of what it was that McGucket needed to erase, what it was that drove him to madness. It was partially seeing the Nightmare Verse and the way it messed with his head and also partly just realizing that this thing has apocalyptic consequences and he doesn't want to be a part of it. And if he can't destroy it or talk Ford out of something, he can forget about it.

Because If Ford's weakness is pride, McGucket's weakness is weakness. He's got a kind heart and he can't stop people, he can't destroy things. I mean he should have basically knocked Ford out with a wrench and take this thing apart piece by piece. He's the one who understood how to build it but I think he's kind of a follower and I think he's the kind of person who could get suckered in by a cult leader. He’s the kind of person looking for instruction and he really respects Stanford and can't bring himself to uh, he's like “I just got out of a bunker! I don't want to go work for another guy down in another bunker! This is my third doomsday cult this year!”

Stan and the kids

Stan and Mabel have such a different life perspective it seemed natural that at some point they would get to a major conflict

Seeing Grunkle Stan and Dipper bond like, I sort of believe that both of them are bad with women and both of them would rather believe there's a giant conspiracy than that they have they just can't get ladies 

Can this idea about Mabel's relationship with Waddles actually reveal a rift between Mabel and Stan where Mabel and Stan actually get along pretty well in the series you know? When they they're both such strong stubborn personalities that when they conflict, they conflict hard like in Boss Mabel. But this idea that Waddles is sort of a metaphor for what Mabel loves and Stan loves Mabel but he doesn't really think that anything she thinks is necessarily smart or right. He loves her like “guys she's my sweet niece but she doesn't know anything you know? She doesn't know anything about a pig” She forgives a lot with Stan but like Waddles sort of represents like the purity of her deepest love and the idea that Stan would threaten that is genuinely a shock

In the previous season it ends with Dipper giving up his journal and there was a lot of argument about “oh is it lame if he just gets his journal back?” Another thing we struggled with, we knew that Stan knows the importance of this journal he wouldn't give the journal back to Dipper so it was a bit of a convolution we'd written ourselves into a corner. We wrote ourselves out, we said “okay he's photocopied it. he's giving it to Dipper because he knows that Dipper's really precocious and he'll never stop asking.”

“We knew that we wanted everything to come to a head when the kids are going to discover Stan's secret and they're going to discover it in such a way that they only get little bits and pieces and they have to decide for themselves based on the limited information. Is Stan's a good guy or if he's a bad guy? Ultimately that decision will be a decision of heart versus mind. And Dipper's mind, Mabel is heart and they're fighting with the scraps of information they have.  Should we trust our heart about how we feel about this guy over the course of the summer and everything we've been through or should we trust the clues? That seemed like a believable way to get Dipper and Mabel to begin a rift between them that is resolved by the end of the series.”

The way Stan acts in [NWHS] is like, to me part of what feels so grounded about it is like I'm a child of divorce and like I know that when parents or parent figures know that hard times are coming for the kids. They kind of lay it on thick they're like who wants ice cream you know what I mean? Like Stan being extra nice to them at the beginning is like it's kind of a realistic thing that that adults do when they know like big changes are coming.

I felt it was really important that we added the scene where they're at maximum bonding. They're up on the roof, they're shooting firecrackers. Stan knows in his heart that when his brother arrives everything is going to change in ways he can't predict and he's really savoring this moment because he knows, even if things goes completely smoothly, which they don't. the kids are still going to be mad at him, especially Dipper for basically lying.  They had this big meeting after the end of Scaryoke where of course Dipper also crossed his finger but Stan crosses his fingers and says “oh I'm telling you everything” and he knows that the kids are not going to be happy about the fact that he's been keeping this all from them because they've done amazing things together already and he should have trusted them before now. 

This act break is them saying, “wait, Stan might be a random grifter who maybe killed our real uncle!” That's pretty heavy for any show let alone a cartoon show.

What that would mean for them if all this stuff is true is so much further than just like, “oh he lied to us about a couple things.” It's just like, “no he's straight up just some random dude that we don't even know uh and the guy that I've been pining for this whole time is dead!”  We really try to stack the deck so it's like Mabel's perspective and Dipper's perspective are both kind of racing to see who gets in front and there'll be a moment where it's like yeah you kind of buy with Mabel she feels good about about Stan and then this scene is the most you’re ever with Dipper where we discover this huge crazy curveball and this feeling that you have looking at this newspaper and looking through these fake IDs this is how Dipper feels all the time.  If you want a window about what it's like to be Dipper, this moment where a giant conspiracy reveals itself out of little pieces and seems to suggest that no one is trustworthy like that's that's where Dipper lives and this to him confirms every bit of suspicion and every bit of paranoia he's ever had and he's willing to run with it. 

I love these characters so much that, for me I was like “I need to see Stan saying goodbye to the kids at that bus. And I don't want him to be some guy who isn't Stan, who doesn't even remember the kids.” That would be really dramatic. It might make you cry more but to me it doesn't actually mean anything. Their relationship which they've built, he was willing to sacrifice his memories to save them. That's how much they meant to him but because he was willing to do that, I think he deserves to get him back.

Stan and Ford

But I think Stan's hope is, that in Stan's mind this is going to play out one way which is that; he's going to free his brother, his brother's gonna come out of that portal after 30 years. Stan's probably imagining that Ford is weak, emaciated, wrapped in a blanket, that he'll stumble forward, through a beard. through blurry eyes, he'll be “my brother, is that you?” He'll embrace Stan, he'll hug him, he'll say, “all these years I thought I was goner but you saved me! I was wrong to mock you, I was wrong to call you the stupid twin! Dad was wrong about you! You're the greatest man and let's be friends again and who are these niece and nephew?” Like that was what Stan was kind of hoping. He knows it's there's a million things that could go wrong, including potentially the destruction of this dimension, but he so desperately needs to believe that he can make up for the problems of the past. He's hoping for this but he knows that things are going to change

When I started the series, I always knew Stan had a twin but all I knew about Ford from the jump was that he's everything Stan Isn't. So Stan is a guy with a huge chip on his shoulder, he's kind of a loser at life. There's somebody who is a winner at life or at least was a winner in all these ways that Stan wasn't.

We realized that in order to bring out the maximum amount of frustration in Stan, [Ford] needed to have a bit of a heart. Like here we see him being kind to the kids, he's not he's not all bad which is what's so infuriating to Stan. The idea that he would quickly get along with the kids when he can't get any respect from them. Ford is designed for what would bring out the most amount of conflict in the family. What would be Dipper's hero, what would be Stan's rival and who's somebody that we could empathize with. I mean, it’s  hard to empathize with a character that comes out and punches one of your characters in the face, basically before he almost says anything.

You see that at this age, that all the stuff [in their room] that would cross over, that would appeal to both of them. It's not just like “there's science stuff here” and then there's “what Stan would be into.” but no, they both like all this.

There was also a version [of ToTS] where early on, they'd rigged the school water fountain. They did sort of like a caper, it was science and a scam together when they were in elementary school but we decided to save the science for the science fair stuff.

We played around with the idea that you would see them working together doing little science games or pulling little pranks. There was actually a scene that some of it was even storyboarded where they're in a treehouse together and Crampelter and his friends have tracked them down and are begging for their lunch money and Stan and Ford have used their jerkiness and geniusness to rig up like a water balloon throwing machine that knocks Crampelter in the head. I remember him saying, “oh no, my old-timey paper crown!” We were really hanging a lampshade on all these sort of Little Rascal cliches.

Ford's not a villain. You know he's getting in Stan's face and saying “I want my life back” but hopefully by the end of the episode even though you don't root for his perspective, you understand his perspective where it's like Stan ruined his science project, Stan shoved him into the portal, Stan took over his house. He’s not completely unreasonable to want it back and he's not completely unreasonable about his request. He says “okay you've got till the end of the summer” and Stan's little look there tells you everything you need to know about how he feels about the situation.

We needed pressure to be at the point where Stan and Ford recognize their lifelong rivalry and Ford does a sincere apology to Stan and almost more importantly, he acknowledges Stan's intelligence. He says “you wouldn't have fallen for Bill's nonsense.” He recognizes that his brother has a kind of intelligence he doesn't.

I always imagined that as kids, Stan and Ford were like this dynamic duo. They were getting into scrapes and like planning pranks and with Stan's creativity and Ford's genius that they were an unstoppable awesome team, before life turned them against each other. I imagine that as kids they were always swapping glasses and tricking their parents so that they could get double presents. And this is a move they did back in New Jersey constantly. We had to figure out who's gonna make a sacrifice and how and even though it's Stan who agrees to be “I'll be the one erase my mind, it's fine, it's worth it”, it's a sacrifice for both. Ford at this point is willing to get his brother back and he has to lose him again. 

Stan and Ford, when they can finally work together, do bring out the best in each other. They just have been missing it for so long.

Post-mind return, Stan and Ford get along and that scene where they both threaten the bus driver gives a hint of what would happen if their powers were combined. We've never seen them working together as adults, they would be a really formidable duo.

Pines Family

[The Blind Eye has] such a great scene between Mabel and Wendy. We don't have a lot of scenes that are just them hanging out and she can kind of be like the cool older sister. Mabel's so obsessed with boys and Wendy's just like "yeah, whatever. They're a dime a dozen."

“in the storyboard, the postcard that Soos is holding up from New Orleans actually said Vegas and at the last minute we got really worried that people were gonna see that and think that that was a clue that Stan was Soos's deadbeat father. And because like our audience, we've trained them to look for clues and to connect dots, they start connecting dots that are not connected. And I called a late retake because, and I see people be like, “wouldn't that be cool if Stan was actually Soos's father” and I hate that headcanon. Whoever's listening and you think “that's a great idea!”-- that's a terrible idea!! Because it means that Stan ran out on his kid and then came back in his life. And weirdly pretends to not be his dad. It flies against the moral of this entire episode which is like, you know this guy who is Soos’ blood relative like cast him out and didn't come back and didn't make time for him and all these people did. These people are Soos’ real family and to say “Stan would be Soos' real father more if he was genetically–”, I'm like “no, no forget that!” Like relationships are about what you do. To me friendship is thicker than water and family is something you can create so I really didn't want anyone to think that we were suggesting that because to me, it actually wasn't just the wrong idea, it was like thematically against what the show's about.” "

"[In NWHS] Every character faces their worst possible choice, which is “Mabel must choose between Dipper and Stan” and “Soos must choose between Stan and the kids,” like “guard that thing with your life. I'm not going to explain to you why.” I believe that Soos would do anything to guard Mr Pines's secrets and these are the only two characters that could possibly make him doubt Stan, these two kids that he loves so much."

"For [DD&MD], you want to set it up as being like [Ford]'s like the coolest toy that's down in the basement that Dipper really wants to play with and he is not allowed to play with him."

"The first three quarters of the series are sort of about Dipper's crush on Wendy and this final quarter is sort of about his crush on the Author. He's such a fan of this guy and he's so used to being denied that which he's a fan of and he's never found anybody who cares about his nerdy stuff. Mabel doesn't care, Stan doesn't care, Soos cares but on a different level. He's so hungry for the approval of somebody like Ford This idea that they would bond over a nerdy board game felt like sort of the way to do this big idea in a sort of grounded way that I like better than like Ford presented Dipper with the Five Trials of the Genius Boy. “I passed these when I was your age! Can you do it too?” and it's like nope he just likes the same dork game that he does."

"The arrival of Ford is creating the two sets of twins starting to pair off between the Brainiacs and the Maniacs"

"Actually I enjoyed that [Ford putting the die in a cheap plastic case] got a little bit of a reckless side because it shows you the Stan part of him. The Stan part of Ford, the little bit that likes a little bit of danger, he likes a little bit of risk. If he would show that side, it would be in when he feels at ease, with a kindred spirit. Around Dipper he’d be like “isn't this pretty cool?” He'd never be that irresponsible around Stan.  I like that Dipper is sort of a little bit of a Achilles heel for Ford as well. Ford has certain blind spots and Dipper exacerbates some of those just because he's willing to encourage, he's willing to “yes and” Ford towards whatever dumb idea he might have."

"Dipper, Mabel, Stan and Ford, they're all characters who need each other. Without Dipper, Mabel's just in a fantasy land. Without Mabel, Dipper is just sort of just spiraling into misery, spiraling into his own neurosis and not being pulled into those social situations, not growing as a person."

"You want [Stan] to be true to our various awful grandfathers, so I feel like for the most part you know that [being shitty to women] a plausible thing for Stan to do, that you only forgive because you know he's not a role model. Nobody wants to be like Stan. The kids never look up to him. The only person who looks up to Stan is Soos and Soos is enough of a comedy character that you understand the joke is “oh this guy thinks the worst way to live is good.” And then at one point you realize why. We made it clear why Soos looks up to Stan is because he gave him his job. He gave him a father basically, he’s essentially Soos’ father. And of course Stan who's had a life of just chaos and disappointment, the only person who would be a surrogate son is [Soos] but also Soos has the biggest heart in the world. So only the biggest heart in the world could forgive all of Stan's many flaws and also if Soos can love Stan, then maybe there's something in there worth loving, then maybe we can too."

"Stan, even when he's sweet, he still has to threaten to murder his niece and nephew."

"I do think the value of [Stanchurian Candidate] is that we're learning just how important it is that [Stan]’s seen. At this point, the kids have become a surrogate family. At the beginning of the show, they were just kind of a little nuisance and then he kind of tried out getting the family from them that he never got from his brother and the idea that he would lose them to his brother is his greatest nightmare and the only way he can really express that is by trying to be impressive to them and trying to be his brother's rival."

"Ford offers Dipper this apprenticeship because Ford sees Dipper as somebody who's special like himself. That Ford's great flaw is arrogance. He believes that there's special people and everyone else and that you can be held back by your siblings. That human attachments are actually weaknesses. The song and dance that he's giving Dipper right now is the exact song of dance that he gave McGucket back when they were younger which is like “sure you could continue working on your job and computers but you and me are different. We're better than everyone else, we have a path that no one else can understand. Only us can do this.” And it’s a very seductive idea for Dipper but he starts to be a little insecure here. He’s kind of “I can't believe it” and he's sort of right to be suspicious because Dipper is a smart kid but Ford's projecting. Ford loves Dipper because he sees someone who tell him yes to everything. He'll never challenge him and if Dipper had taken Ford's apprenticeship,Dipper probably would have gone the way of McGucket, turned into a kind of insane paranoid hermit with no friends, just kind of losing his mind. Like it's a seductive offer but also ultimately Dipper needs to learn not to try to grow up too fast."

"This entire time Dipper's been having this journey of self-discovery and seeing his future as this wonderful thing that he can't wait for. Mabel has been, piece by piece, seeing her idea of the summer fall apart."

"As Ford and Dipper's relationship grow stronger, Stan and Mabel also find much more sort of connection. They both feel like the sibling that's getting kind of sidelined."

"I think [amnesiac!Stan] would be hardest on Soos, second hardest on Ford but Soos would show it. Probably third hardest on Mabel, fourth hardest on Dipper just because where their hearts are. Dipper's not heartless, that's a testament to just how heartbroken those other characters are."

Series goal+ The Finale

"So our idea was; the memory gun can erase a concept as designated by the dial. It stores it. It records you and it keeps that recording and that if you watch that recording things start to come back a little bit, that it hasn't actually completely erased it from your mind. It's more sublimated somewhere where it's really really hard to reach and in the series finale, my concept of Bill is that; if he hadn't gotten in all those forms and fought Stan, Stan is the one that destroyed Bill. Were it just the mind eraser itself that he would be sublimated somewhere but he was weakened in the mindscape and destroyed in the mindscape. But Stan's memories were being sublimated and by looking at the scrapbook in the same way that McGucket's memories come back, they start to come back to the surface."

"I think part of what makes [NWHS] work also is that it has the strongest ticking clock. Yeah, I mean. it has a literal ticking clock. Also the sun is going down it's also, the town is starting to drift apart as the characters are starting to drift apart. There's just such a sense of Doomsday and even though we have like a three-part apocalypse, to me nothing feels as apocalyptic as this episode now."

"The entire purpose of [ToTS] is that Stan and his brother have had this huge rivalry that remains to this day and threatens to tear apart Dipper and Mabel and briefly does, and then Dipper and Mabel are able to find their way together, which is meant to repair Stan and his brother's past."

"Here we're teeing up the rest of the conclusion of the series which is just “whoa this is different. The status quo is shifted and is it going to shift us?” and that was the mission of this entire story was shift. Shift things such that it pits Dipper and Mabel against each other so that they can ultimately make things right and fix their uncles’ trauma in the process."

"“Let's try to set things into motion such that all of these characters who we love, who love each other are placed at maximum odds”. So Ford's entire existence in the series is basically a wrench in the relationships between Stan, Dipper and Mabel, that Stan has had a sibling who he didn't get along with and they've grown up having this horrible rift. Dipper and Mabel are these two twins who love each other but are very very different and are at this sort of volatile growing up moment where if something goes wrong could they turn out like Stan and Ford."

"[The convincing Gideon] scene works for me because it sort of represents the full completion of Dipper's Wendy Arc. Even though he's talking about Gideon and Mabel, he's really talking about himself. That idea that you can't force someone to love you but you can strive to be someone worthy of loving. It really does come down to like be the best you, you can be and the right person will see and feel that."

"It was gonna be W1, W2, W3 and then some kind of goodbye story. I remember it being something vaguely about some sort of other time travel. Bringing Blendin back because he just kind of vamoosed in the middle of this big story. There was that discussed like time traveling back to the first day when the kids arrived. The challenge was thinking of a valuable arc. So like each episode needs to have like a new problem and a new resolution and I was trying to brainstorm what's something that could feel valuable for like a final episode after the apocalypse, after Stan's mind has been erased and he's in the process of getting it back. "

"The thing I remember I wrote one out it was it's the last day of summer. Dipper and Mabel are packing uh they're planning to go home, they're feeling like nostalgic, they kind of don't want to leave. Blendin shows up and he explains that there's all these time bubbles left over, these weird anomalies because of all the time business and what Bill has done and just to watch out and be careful. Then Dipper and Mabel actually accidentally trip into one of these bubbles that are sent back to the very first episode or actually beyond the first episode, their first day in Gravity Falls um and somehow this was meant their character arc was to go from being like a little sad that they're going to leave Gravity Falls to seeing what it was like on the first day. When they were scared to be in Gravity Falls. The idea is like their first day they're like “oh Grunkle Stan, he's this weird old man and we hate living in this house and like we missed our place of comfort back home! And this is a kind of scary new adventure that we don't like.”  The kids see their own growth and realize like “the way we felt about going to Gravity Falls like we don't think we can handle it, is how we feel about leaving.” That feeling of going into a new experience means that something new and exciting is going to happen you're going to grow. There was some thought that maybe over the course of that episode, Stan would get his memory back and something that the kids had done in the past would help him in the present, get his memory back.

"What's supposed to be happening here isn't that Stan's entire memory reappears in an instant. It's supposed to be a couple days of work and we see the beginning of that process when he looks at the scrapbook and then we're kind of jumping ahead a few days. maybe a week of just intensive memory therapy with Stan before he gets there."

"When we were trying to crack the half hour episode after Weirdmageddon, it felt like we were just kind of wallowing and Stan not having his memories. It was a very depressing thing. And we didn’t get to have Stan for the last episode, which was like “it's a great it's great i think you get the emotion like in this episode. It tears you apart when you see it. You could last a little bit longer on it. But going much longer, then you just feels like well what are we doing? Why are we just kind of wallowing in our own sorrows for no good reason.”

"When we had discussed the idea of an episode beyond this episode, a fourth episode, it was basically 20 minutes of [amnesiac!Stan]. This is so intense, you might think you want it but good lord, this is enough."

"Bill singing “We’ll meet again” was something that just felt like the perfect reference because this is kind of an ending about endings in a lot of ways and we know we know Bill's going to be defeated. We know that people like Vill and have grown attached to him and for him to sing “We’ll meet again” is sort of the perfect mysterious way to say like “I might be going, I might not be going.” It’s a reference to Dr Strangelove, a movie that famously ends with nuclear apocalypse and the song “We’ll meet again” so it's for those pop culture savvy. It's already tinged with a kind of a fear and an irony and the apocalypse built in, so it's perfect on a number of levels."

"The concept of the Zodiac as existing in our current canon is this idea that the prophecy was that friends and enemies would need to come together, seemingly impossible alliances would need to be made to stand up to Bill for this prophetic moment. You know that characters like Gideon who was who used to be an enemy, characters like Pacifica, like Robbie, that we've reached the point where thanks to the kids’ kindness and growth, they are now friends with Pacifica, they've resolved Robbie's jerkiness, they've helped McGucket with his memory. They've even overcome this issue with Gideon in W1 and so it seems like friends and enemies have all been restored, leaving only one thing which is Stan and Ford have to shake hands. And their pride once again is what dooms the entire world but they get so close."

"It's clear Stan, even though he's being stubborn here and holds things up, he's ready to do it.  He clasps Ford's hand and then Ford can't help but correct his ignorant brother with something that doesn't matter at all after professing how important all this is and how important it is to put pettiness aside, he's the one who ends up being petty in the end."

"I like that Stan [during the deal] is just thinking “all right, think white, think white, think white.” He's like “think about nothing but sitting on your lazy boy.” "

"Stan and Bill had never interacted in the series up until this moment  because he had just been taken over when he was asleep. We'd seen a lot of Ford and Bill, but Stan and Bill has never happened. And Bill sort of represents all the mystery and weirdness, and Stan is the guy who just wants to have a good life and protect his family. He's the one who never invited Bill in but he's willing to take Bill out."

"If Mabel's going home with a pig, Dipper's going home with this symbol of his friendship with Wendy. And even Stan he's wearing that Mabel sweater. That's a visual symbol of; he's softened up, he's embraced family, he doesn't need to be the tough guy all the time."