#thinking thoughts

[icyfox17]

@jtownraindancer

happy birthday @bucksaiga ♡

[morsesnotes]

The reason I could never be sold on Joan/Strange is they don't really know each other. Joan isn't aware of how comfortable Strange is with police brutality/doing whatever is needed for his career, and he has no idea what she's gone through the last several years. There was no conflict and resolution to their relationship. They came together like two people playing house, and it just never felt real or earned to me.

[spectrenun]

As for the sphere of thought, it is horror. Yes, it is horror itself.

Georges Bataille | L'Abbé C.

[honestlydarkprincess]

i love this character so much......i hope they get seriously injured and almost die

[the-aleator]

Thank you very much for your nuanced argument! You've helped me to clarify my own thinking. I think your last point, that the female characters are really never given interiority, is bang-on. It's what's driving my frustration with the believability of Joan going to Morse for help. On one hand, if I accept Joan as a flat character w no interiority, accept also the Morse-centric nature of the show, then yes, I do find it believable. She is absolutely ashamed of her circumstances, and I do think she goes to him not only because he won't judge her but also because he's already been established as a character who won't do anything.

But I also find it unbelievable in the sense that Joan has been set up to a rounded character, and as a viewer, I don't like the sense that infamous Russell Lewis Emotional Manipulation:tm: is going on re yet another female character. For example, we know from s1 that she thinks Ronnie Gidderton at the bank is a wet drip; we know she's worked at the bank for 4 years and has friends there. Then, in all her options, she only (so far as we know) contacts Morse: which we only ever see or hear from Morse's side of things. Even the usage of mirrors for interiority is only ever used for Morse in Joan's apartment (and later Thursday).

I guess I just find it bothersome that the only female character who does get a sense of interiority is Dorothea Frazil. I just feel that much more could have been done with Win and Joan.

I really enjoy reading your Endeavour musings. I was particularly interested in your reference to Joan's DV as a plot device as I agree wholeheartedly. I was hoping you could go into your thinking a little bit more about that. In my view, it felt like Joan's DV and miscarriage/abortion was used just as a setting for more Joan/Morse angst (the "marry me" scene was not romantic in the least, to me, and actually signaled how tone-deaf Endeavour was to think that what Joan needed in that moment of vulnerability and hurt at the hands of a man she was in relationship with was a romantic overture by another man) and focused entirely on how Morse felt than on how Joan felt.

I absolutely agree that the scene is focused on how Morse feels, in that moment, seeing her as victim of DV, and yes, his offer is very tone-deaf. I think Sara Vickers does her best to counterbalance the scene, but it's absolutely Morse-centric (in both cinematography and emotional emphasis) -- about how her refusal devastates him, and I don't love it for that reason.

One of the reasons I see Joan's DV as a plot device is that it seems both unnecessary and gratuitous. It seems to be there just for Angst level. We never get any exploration of her trauma from being at the bank, because the DV trauma is heaped on-top and takes the focus. I also think it cheapens the way that Ray is taking advantage of her: a situation that was devastating in itself (Thursday's monologue in Muse springs to mind). Speaking of Thursday, I vaguely see RL's connection about the circle of violence: Thursday beating up Ray leads to Ray beating Joan and how it parallels and contrasts the other plots in Harvest; Seth killing Laxman for being "quick with a back-hander;" and Donald Bagley not wanting to commit violence because he "love[s]" peace and his wife more than killing. It's all very neatly done. But I'm a firm believer that significance of stories work when they build on real situations and people: so the disconnect between that here bothers me.

(I also question the believability of Ray beating Joan when he now has intimate knowledge that her father (1) knows where she is (2) knows who he is (3) has handily beaten him up (4) threatened to have him arrested as a pedophile.) Lastly, the very fact that Joan turns to Morse for safety and help, I feel is played because it's Morse-centric. Joan is an intelligent, strong-minded, stubborn woman who comes from a stable middle class background. Even if she "can't" go home (another point I find v unbelievable -- her mother wouldn't take her back?), she has no female friends who would help her? Or other support network? I'd be very interested in anyone's else take on the Joan & DV plot; I find it an unfortunate example of how RL struggles to write female characters.

[adultemophase]

I’m gonna be busy rotating this in my brain for the next 5-10 business days, don’t hmu

[procrastinationstationnn]

hey *with the intention of bouncing on it until you cum inside me*

[teddybeartoji]

18+ mdni; gn!reader

btw toji loves fucking you in prone bone. and he likes to just put all of his weight on you, trapping you underneath him and he likes to just grind into you. he's so fucking big and it's just so much and you feel like you're going to pass out from the sensation. he doesn't even pull out, he just slowly rolls his hips into yours while sloppily kissing away the tears that fall from your pretty eyes.

you can't even properly moan anymore, the only sounds that slip from your lips are broken mewls and shaky breaths. his one arm is curled around your neck, supporting your heavy head with his forearm and bicep. toji feels your drool on his skin and grins to himself.

his hot breath warms your already scorching flesh and you can't keep eyes open either – the feeling of toji in your guts being too much to handle. hazy and delirious, he loves seeing you like this; he loves watching you crumble underneath him. he loves to fuck your pretty little brains out and he will keep doing so as long as he gets to see you like this.

he hisses when you clench around him, his own breath hitching. his free hand finds yours holding onto the crumpled bedsheet below you and he interwines his bigger, rougher fingers with yours.

"does it feel good, hm?" he rasps right in your ear. your body trembles at his voice, at the proximity and he feels like he's in heaven. "tell me."

but instead of an answer, you let out a defeated little whimper from the depths of your stomach. he's so heavy on top of you and you just can't bring yourself to open your mouth again. you just can't do it; you don't have the strength nor the brainpower.

he squeezes your hands before pushing himself deep inside, his tip kissing your most sensitive part. a broken cry tumbles from you accompanied by another few tears—

—but then he just stays there.

he doesn't pull away, he doesn't move at all. he's crushing you under him, he's forging your bodies together. his heart rests above yours, his warm skin sticks to yours just like it's meant to.

"toji- "

he hums and presses his lips to your sweaty temple. he can feel your body trembling, the overstimulation taking hold of you before his very eyes.

"move." your voice is almost as raspy as his is. he's proud of that too – you're giving your all to him and he welcomes you with open arms. this is his way to show you how much he really cares for you, his way of showing his love. "please."

toji chuckles darkly; even the slightest movement makes the knot in your stomach tighten in this position and you feel like you're going to cum... just from this – you're going to finish with him lodged deep inside you, exactly where he belongs.

"i asked you a question, sweetheart."

you try to wriggle yourself under him, desperate to make him move but he's way too heavy. he moves your both hands closer and tucks them right beside your head – he's making you feel smaller and smaller. it feels like you're suffocating. in the best fucking way possible.

the hand that's been resting below your jaw goes to turn your head to the side, so toji can finally kiss you. open-mouthed and sloppy, he pushes his tongue inside and groans at the taste of you. his angel. you can barely keep up with him but he doesn't mind.

he's still not moving his hips though. if anything, he spreads his big thighs a bit wider so he can burrow himself even deeper. your mouth falls slack against his and you can't fucking breathe.

"tell m', how ya feel."

cracking open your eyes, you peer at him from the corner of your eyes and he coos at you. he doesn't let go of your face, keeping you right there so he can look at your perfectly fucked out face.

"so- so good." you hiccup. lips covered in your own drool, you look like a mess. you look like you deserve a reward. "please...."

toji gives you another rumble of a hum and a soft little smile. a lovesick one. he brings your hand to his lips and he presses a kiss on the inside of your wrist while keeping his eyes on you. his lips tug upward when he feels you pulsate around him again but he doesn't tease you for it this time.

it doesn't take much for him to have you twitching and spasming below him. he drinks up every single gasp and mewl, every single whimper and moan as he keeps rocking his hips into you. he helps you ride out your earth-shattering orgasm with rougher and rougher thrusts, his own desire to fill you up and mark you as his taking hold of him.

you cry into the pillow as he growls praise at you. the air in the room is thick and the messy, slick sounds of your bodies grinding together fills the space with ease. you can hear yourself, you can hear him and it's like a perfect melody. everything is so fucking messy, it's so fucking dirty and you wouldn't want it any other way.

he gives your hand another strong squeeze as he cums. his hips stutter flush against you, skin to skin, and he lets out the most beautiful moan. he doesn't hold back anymore – he wants you to know how good you make him feel, too.

his body relaxes on top of you as he listens to you trying to catch your breath. he pulls you as close as he possibly can.

"did s'good for me." he gives you another sloppy kiss on the nape of your neck before hiding his flushed face in your hair. you give him a weak hum, the exhaustion hitting you like a truck. your eyes flutter shut but you gather your last strength to raise and pull his hand to your lips. you need to feel him; more, more, more – he needs to be even closer. always.

soft lips against the back of his hands, you whisper. "iloveyou..."

the words all mix together, coming out as a muddled mess... but it's his muddled mess. he can't help but smile lazily at your sleepy confession.

"i love y'too."

he lets you rest for a bit, he knows you need it. he plays with your hair and he drags his fingers over your smaller ones. he doesn't want to pull away, he wants to stay like this forever.

[webshood]

the fact that Bruce made Jason believe in justice and that they could improve the community and better the lives of the citizens by fighting crime, but when he came back nothing had changed, the rogues were still running rampant, and the Joker didn't have a harsher punishment for torturing him, killing his mom and blowing him up, he was still just getting put on time out at Arkham until he decided to escape again

Jason's life was interrupted too soon and he came back to everything being the same shit as always, the only change was that his father had found a substitute for him

[scholliski]

thinking about a 14 year old Jean, terrified and confused, having fallen in love with a 16 year old Kevin, as stupid as he was beautiful, simply because he was the first person Jean had ever known who didn’t actively abuse him, who smiled at him and tried defending him, so he clung onto Kevin and his postcards and his secret French lessons for nearly half a decade in that cold stadium basement before the only semblance of happiness in his life was ripped away from him without even a wave goodbye mere weeks after his 18th birthday

[bluukive]

♡ jjk x love and deepspace threesömes I need because my brain doesn't want to turn off (MDNI)

- Caleb and Gojo, specifically both of them eating your puthy at the same time because they're both annoying and would be competitive about it

- Gojo and Rafayel. Same reason as above, but sprinkle some shibari because who doesn't want to see them pretty boys in ropes? (Yes, they're the ones in ropes.)

- Nanami and Zayne cus they have the same vibe. Add some blindfolds and vibrators and boom, waterpark. + they talk you through it

- Sylus and Geto because I have an obsession with both of their eyes and one can't help but imagine some mirror action with them (they'd force you to watch yourself whilst whispering the nastiest words)

- Sylus and Toji because they both have big tiddies, meaning pouble denetration with Toji below and Sylus behind you.

- Xavier and Sukuna because I need a wild card so here we are (can we see Xavier outfreaking Sukuna and scaring him)

- Dragon Sylus and true-form Sukuna. Don't think I need to say much about that

[starchaserwrites]

metalhead guitar player latino james who grew up listening to reggaeton and goes viral for adding guitar riffs to some old school songs.

pretentious classical pianist regulus who pretends he can't stand urban music but has spent hours scrolling through james' videos.

send tweet.

[srslylini]

what made season 1 so stunningly good was that every scene could be explained with stuff that happened on screen.

Why did Vi know where to find Vander after Silco took him? well of course because of Ekko who was established in the first few minutes of the first episode to be the character to be on look out.

Why did Powder follow the others to the abandoned building? why because she wanted to feel useful, she wanted for her stuff to work and she wanted to help. She wanted to not be the Jinx. This was all established through character moments that were natural and normal human interactions.

Why did Mel invest in Jayce? Why because first of all her own mother sent her away so seeing Jayce's mother stand up for her son must've hit her. And we see her talking about having to find new investments. Of course she would. He sounds interesting enough. Why not try it? If it doesn't work banishment is still on the table.

Why did Viktor help Jayce? Because he didn't want to stand in Heimerdingers shadow as just an assistant anymore. He was sick and knew the problems of the undercity first hand, he wanted to help. Of course he would, if there was a chance hextech could do it.

Why did Marcus continue to help Silco even after Graysons death? Why, because of his daughter or course. He could be threatened, molded and used. He wanted to establish big things, and was hasty in his youth, and we see 1. Silco exploit that and 2. Marcus regret that.

Why did a shimmer induced Huck help Caitlyn out? Why because as early as the very first episode in Vanders first speaking scene he gets help from Vander and well why wouldn't he then show that help for Vi, knowing he can?

literally every scene makes sense, everything can be explained with stuff that we SEE in the show. There isn't anything "off screen" or just not there.

Now tell me

Why did Caitlyn suddenly switch sides again in season 2 act 2? Why and how did Mel know that her brother wasn't actually her brother? Why did she know how to solve the puzzle? Why is Viktor suddenly floating in the universe? Why does Ambessa just ignore her daughter being abscent outside of that one throw away line? Why do Maddie, Loris and Isha exist? Every chatacter existed for a reason that wasn't just Plot even if they sometimes were just for Plot in season 1. But Maddie, Loris and even ISHA for gods sake, really are just Plot. Isha not as much as Maddie and Loris and thank god for that but still, her character, while I still hope it isn't true, existed to die and further Jinx's pain.

it's just so ugh

Edit: A lot (and I mean a LOT) of people have told me how Kino did make sense and I agree with that now. Though I stand firm with my opinion that we should've gotten to know him before so we could have figured it out even easier with Mel, there were actually signs I didn't notice myself before. Thank's for that.

Plus I will not back down on the fact that Mel just knowing the solution to the puzzle "makes sense cause sHe WaS ShOwn TO Be gOoD WiTh PuZZLes" is stupid. Yes, I know she is smart and good with that. But that's like a whole different thing. It's such a leap I don't know how some of you don't see it.

[carmenell]

hmm obsessed with the way everyone is so much bigger than mav

[achilles-rage]

NO WAIT

you know how people with adhd tend to bump into corners and walls and stuff more often?

i’m imagining tommy noticing that buck does that constantly around the house. like constantly running into the corner of the kitchen island and table. so tommy takes it upon himself to block the corners if he’s in the kitchen so instead of the corner hitting buck’s side, the blow is cushioned by his hand, or better yet, his whole body. if he sees buck in his own little world as he rambles about his day, or something new he learned as he sets the table, he’ll take a few steps over, pretending to grab something as he cooks dinner, putting his body between buck and the corner. a soft smile on his face as buck apologizes quickly, before going back to his rambling.

AND

you know that video of the guy reaching over to block the corner of the table when the girl leans down to pick something up? tommy does that too. maybe they’re out for dinner with hen and karen, and buck drops his knife. tommy’s voice doesn’t even falter as he leans over to block the corner of the table, continuing to tell hen and karen a story. and it doesn’t go unnoticed by henren, who give each other a knowing look at his actions. it’s second nature to him, and he doesn’t even realize he’s doing it most of the time. anything to keep buck safe, even if it is from something as insignificant as the corner of a table<3